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SCORN OF WOMEN 



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SCORN OF WOMEN 



IN THREE ACTS 



BY 



JACK LONDON 

AUTHOR OF *'THE CALL OF THE WILD, 
"WHITE FANG," ETC., ETC. 



THE MACMILLAN COMPANY 

LONDON: MACMILLAN & CO., Ltd. 
1906 

All rights reserved 



iliBRASV of congress! 
I Two Copies Received 

I i^'O^' 15 !906 

i^, Coiiyright Entry 
GLASS f^ aXc,, No, 








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e,4- 



Copyright, 1906, 
By the MACMILLAN COMPANY. 



Set up and electrotyped. Published November, 1906. 



Narlijooli }|rc0S 

J. S. Gushing: & Co. — Berwick & Smith Co. 

Norwood, Mass., U.S.A. 



ACT I 

Alaska Commercial Company's Store at Dawson 

ACT II 

Anteroom of Pioneer Hall 

ACT III 

Freda Moloof's Cabin 



Time of play, 1897, ™ Dawson, Northwest 
Territory. It occurs in thirteen hours. 



CHARACTERS 



Freda Moloof . 
Floyd Vanderlip 

LORAINE LiSZNAYI 

Captain Eppingwell 
Mrs. Eppingwell 
Flossie . . . 
Sitka Charley 
Dave Harney . 
Prince .... 
Mrs. McFee 
Minnie . . . 



A dancer. 

An Eldorado king. 

A Hungarian. 

United States government agent. 

His wife. 

Engaged to marry Floyd Vanderlip 

An Indian dog-driver. 

An Eldorado king. 

A mining engineer. 

Whose business is morals. 

Maid to Freda Moloof. 



Dog-punchers, couriers, miners, Indians, mounted 
police, clerks, etc. 



ACTORS' DESCRIPTION OF CHARACTERS 

Freda Moloof. A Greek girl and a dancer. Speaks perfect 
English, but withal has that slight, indefinable foreign touch 
of accent. Good figure, willowy, yet not too slender. Of 
indeterminate age, possibly no more than twenty-five. 
Her furs the most magnificent in all the Yukon country 
from Chilcoot to St. Michael's, her name common on the 
lips of men. 

Floyd Vanderlip. An Eldorado king, worth a couple of 
millions. Simple, elemental, almost childish in his emo- 
tions. But a brave man, and masculine ; a man who has 
done a man's work in the world. Has caressed more 
shovel-handles than women's hands. Big-muscled, big- 
bodied, ingenuous-faced ; the sort of a man whom women 
of the right sort can tie into knots. 

LoRAlNE LisZNAYl. A Hungarian, reputed to be wealthy, and 
to be travelling in the Klondike for pleasure and love of 
adventure. Past the flush of youth, and with fair success 
feigning youth. In the first stages of putting flesh upon 
her erstwhile plumpness. Dark-eyed, a flashing, dazzling 
brunette, with a cosmopolitan reputation earned in a day 
when she posed in the studios of artist-queens and received 
at her door the cards of cardinals and princes. 

Captain Eppingwell. Special agent for the United States 
government. 

Mrs. Eppingwell. His wife. Twenty-five to twenty- eight 
years of age. Of the cold order of women, possessing 



X ACTORS' DESCRIPTION OF CHARACTERS 

sanity, and restraint, and control. Brown hair, demi-blond 
type, oval-faced, with cameo-like features. The kind of a 
woman who is not painfully good, but who acts upon prin- 
ciple and who knows always just what she is doing. 

Flossie. Eighteen or nineteen years of age. Of the soft and 
clinging kind, with pretty, pouting lips, blow-away hair, 
and eyes full of the merry shallows of life. Engaged to 
marry Floyd Vanderlip. 

Prince. A young mining engineer. A good fellow, a man's 
man. 

Mrs. McFee. Near to forty, Scotch accent, sharp-featured, and 
unbeautiful, with an eager nose that leads her into the 
affairs of others. So painfully good that it hurts. 

Sitka Charley. An Indian dog-puncher, who has come into 
the warm and sat by the fires of the white man until he is 
somewhat as one of them. Should not be much shorter 
than Vanderlip and Captain Eppingwell. 

Dave Harney. An Eldorado king, also a Yankee, with a 
fondness for sugar and a faculty for sharp dealing. Is tall, 
lean, loose-jointed. Walks with a shambling gait. Speaks 
slowly, with a drawl. 

Minnie. (Maid to Freda.) A cool, impassive young woman. 

Policeman. A young fellow, with small blond mustache. An 
Englishman, brave, cool, but easily embarrassed. Though 
he says "Sorry " frequently, he is never for an instant afraid. 



ACT I 

ALASKA COMPANY'S STORE AT 
DAWSON 



ACT I 

Scene. Alaska Commercial Company's store at Dawson. 
It is eleven o'clock of a cold winter morning. In front, 
on the left, a very large wood-burning stove. Beside 
the stove is a woodbox filled with firewood. Farther back, 
on left, a door with sign on it, "Private." On right, door, 
a street entrance; alongside are wisp-brooms for brush- 
ing snow from moccasins. In the background a long 
counter running full length of room with just space 
at either end for ingress or egress. Large gold-scales 
rest upon counter. Behind counter equally long rows 
of shelves, broken in two places by ordinary small- 
paned house-windows. Windows are source of a dim, 
gray light. Doors, window -frames, and sashes are of 
rough, unstained pine boards. Shelves practically 
empty, with here and there upon them an article of 
hardware {such as pots, pans, and tea-kettles), or of 
dry -goods {such as pasteboard boxes and bolts of cloth). 
The walls of the store are of logs stuffed between with 
brown moss. On counter, furs, moccasins, mittens, 
and blankets, piled up or spread out for inspection. In 
front of counter many snow-shoes, picks, shovels, axes, 
gold-pans, axe-handles, and oblong sheet-iron Yukon 
stoves. The feature most notable is the absence of food- 
stuffs in any considerable quantity. On shelves a few 
tins of mushrooms, a few bottles of olives. 

About the stove, backs to the stove and hands behind their 
backs, clad in mackinaw suits, mittens dangling from 
around their necks at ends of leather thongs, ear-flaps of 

3 



SCORN OF WOMEN act i 

fiiy caps raised, are several miners. Prince stands by 
stove An Indian is replenishing the fire with great 
chunks oj wood. Mounted police pass in and out. 
SiTKA Ca-VRLEY is examining snow-shoes, bending 
and testing tJiem. Behind the counter are several clerks, 
one of whom is waiting upon a bearded miner near end 
oj counter to right. 

Miner 



{Pathetically.) 
No flour? 

Clerk 

{Shakes head.) 

Miner 

{Increased pathos.) 
No beans? 

Clerk 

{Shakes head as before.) 

Miner 

{Supreme pathos.) 
No sugar? 

Clerk 

{Coming from behind counter and approach- 
ing stove, visibly irritated, shaking his 



ACT I SCORN OF WOMEN 5 

head violently; midway he encounters 
Miner, who retreats backward before 
him.) 
No! No! No! I tell you no! No flour, 
no beans, no sugar, nothing! 

{Warms his hands over stove and glares 
ferociously at Miner.) 

(Dave Harney enters from right, brushes 
snow from moccasins, and walks across to 
stove. He is tall and lean, has a loose-jointed, 
shambling gait, and listens interestedly to 
Clerk and Miner. He evinces a desire to 
speak, but his mustached mouth is so iced-up 
that he cannot open it. He bends over stove to 
thaw the ice.) 

Miner 

{To Clerk, with growing anger.) 
It's all very well for your playing the high an' 
lofty, you sneakin' httle counter-jumper. But we 
all know what your damned Company is up to. 
You're holdin' grub for a rise, that's what you're 
doin'. Famine prices is your game. 

Clerk 
Look at the shelves, man ! Look at them ! 



6 SCORN OF WOMEN act i 

Miner 

How about the warehouses, eh? Stacked to 
the roof with grub ! 

Clerk 

They're not. 

Miner 

I suppose you'll say they're empty. 

Clerk 

They're not. But what little grub's in them 
belongs to the sour-doughs who filed their orders 
last spring and summer before ever you thought 
of coming into the country. And even the sour- 
doughs are scaled down, cut clean in half. Now 
shut up. I don't want to hear any more from you. 
You newcomers needn't think you're going to run 
this country, because you ain't. 

(Turning his back on Miner.) 
Damned cheechawker! 

Miner 

{Breaking down and showing fear, not of 
Clerk, but of famine.) 
But good heavens, man, what am I to do? I 
haven't fifty pounds of flour for the whole winter. 



ACT I SCORN OF WOMEN 7 

I can pay for my grub if you'll sell it to me. You 
can't leave me starve ! 

Dave Harney 

{Tearing the last chunk of ice from mus- 
tache and sending it rattling to the floor. 
He speaks with a drawl.) 
Aw, you tenderfeet make me tired. I never 
seen the beat of you critters. Better men than 
you have starved in this country, an' they didn't 
make no bones about it neither — they was all 
bones I calkilate. What do you think this is? 
A Sunday picnic? Jes' come in, eh? An' 
you're clean scairt. Look at me — old-timer, 
sir, a sour-dough, an' proud of it ! I come into 
this country before there was any blamed Com- 
pany, fished for my breakfast, an' hunted my 
supper. An' when the fish didn't bite an' they 
wa'n't any game, jes' cinched my belt tighter an' 
hiked along, livin' on sahnon-bellies and rabbit 
tracks an' eatin' my moccasins. 

(Jubilantly.) 
Oh, I tell you this is the country that'll take the 
saleratus out of you ! 

(Miner, awed by being face to face with an 
old-timer, withers up during harangue, 
and at finish shrinks behind other miners, 
and from there makes exit to right.) 



8 SCORN OF WOMEN act i 

{Drawing paper from pocket and present- 
ing it.) 
Now lookee here, Mister Clerk, what'd you 
call that? 

Clerk 

{Glancing perfunctorily at paper.) 
Grub contract. 

Dave Harney 

What's it stand for? 

Clerk 

(Wearily.) 
One thousand pounds of grub. 

Dave Harney 

Say it again. 

Clerk 
One thousand pounds of grub. 

Dave Harney 

An' how much sugar? 



act i scorn of women 9 

Clerk 

{Looking for item on paper and reading.) 
Seventy-five pounds. 

Dave Harney 

( Triump hantly . ) 
That's the way I made it out. I thought my 
eyes was all right. 

Clerk 

{Ajter a pause.) 
Well? 

Dave Harney 

Well, that mangy little cuss around at the ware- 
house said I could only get five hundred on that 
piece of paper, an' nary sugar. What's that 
mean? 

Clerk 

It means five hundred pounds and no sugar. 
Scale -down went into effect to-day. Orders. 



Dave Harney 



(Wistfully.) 
An' nary sugar? 



lO SCORN OF WOMEN act i 

Clerk 

Nary sugar. 

Dave Harney 

That grub's mine, an' that sugar, I paid for 
it last spring. Weighed my dust in on them scales 
there. 

Clerk 

Can't help it. Orders. 

Dave Harney 

(Wistfully.) 
An' nary sugar? 

Clerk 

Nary sugar. 

Dave Harney 

(Meditatively, in low voice.) 
Curious, ain't it ? Mighty curious — me ownin' 
two five-hundred-foot Eldorado claims, with five 
million if I'm wuth a cent, an' no sweetenin' for 
my coffee or mush. 



ACT I SCORN OF WOMEN 1 1 

(Whirling upon Clerk in sudden wrath, 
Clerk retreating wearily to behind 
counter.) 
Why, gosh dang it ! this country kin go to 
blazes! Til sell out! I'll quit it cold! I'll — 
I'll — go back to the States! I'll — I'll — see 
the management ! 

{Strides rapidly toward door to left.) 

Clerk 

Hold on! 

(Dave Harney stops.) 
The boss is busy. VanderHp's with'm. 

Dave Harney 
He's buckin' the sugar proposition, too, eh? 

Clerk 

No, he ain't. 

Dave Harney 

Then here goes. Dave Harney don't wait on 
Vanderlip or any other man. 

{Jerks open door marked " Private.") 

(Vanderlip appears in doorway, just 
entering.) 



12 SCORN OF WOMEN act i 

Vanderlip 
Hello, Dave. What's the rush ? 

Dave Harney 
Hello, Vanderlip. Got any sugar to sell? 

Vanderlip 
No, but I want to buy — 

Dave Harney 

{Interrupting.) 
No sugar, you can't do business with me. 

(Rushes through door, slamming it after him.) 

(General laugh from miners about stove. 

Clerk throws up his arms despairingly.) 

(Vanderlip looks backward through door, 
which he pulls open for a mometit, and 
laughs at Dave Harney.) 

(Loraine Lisznayi enters from right and 
pauses at door to brush snow from 
moccasins.) 

Vanderlip 

(Sees Loraine Lisznayi, starts across to 
meet her, but stops midway to speak 
hurriedly to Sitka Charley.) 



ACT I SCORN OF WOMEN 1 3 

How about those dogs, Charley? 

Sitka Charley 
I get um all right by and by. 

Vanderlip 
I want them right away, to-day. 

Sitka Charley 
Yesterday you tell me to-morrow. 

Vanderlip 

To-day, I tell you to-day. Never mind the 
price. I must have them — good dogs. To- 
night, twelve o'clock, have them down at the 
water-hole all ready, harnesses, grub, everything 
in shape. And you're to drive them down river 
for me. Sure? 

Sitka Charley 

Sure. 

Vanderlip 

{Over his shoulder as he continues to cross 
to right.) 
Never mind the price. I must have them. 



14 SCORN OF WOMEN act i 

(Crosses on over to right to Loraine Lisz- 
NAYi, an expression of joy on his face. 
Sweeps off his fur cap and shakes her 
hand.) 

Loraine 

You must do better than that. Had there been 
a woman here, your face would have given every- 
thing away. 

Vanderlip 

I can't help the gladness getting into my face, 
Loraine. 

Loraine 

Don't call me Loraine. Somebody might hear. 
And we can't be too careful. And you mustn't 
talk but for a moment, Floyd. 

Vanderlip 

(Grinning broadly.) 
There you go, calling me Floyd. Somebody 
might hear. But who's afraid? I'm not. Let 
'em hear. I'm glad of it ! Proud of it that you're 
mine. The dearest little woman in the world, and 
mine, all mine ! 



ACT I SCORN OF WOMEN 15 

LORAINE 

(Glancing furtively about and finding that 

nobody is paying any attention.) 

Hush, dear. Wait until we are safely away, and 

then I shall be proud before all the world to have 

you proud of me. You are such a man ! Such a 

man! 

Vanderlip 

Just wait until I get you into that Mediterranean 
palace. We'll make 'em sit up with this Klondike 
gold of ours. People don't know how rich I am, 
Loraine. Nor do you. I've got pay-claims over 
on Dominion Creek nobody dreams of, and — 

Loraine 

I don't care how much you've got, or how Httle. 
It's you, you big, big man, you, my hero, that I 
care for. You'll grace a palace like a prince, and 
I've known a few princes, too. 

Vanderlip 
And queens, too, didn't you say? 

Loraine 
Yes, and queens, too. And they will be proud 



l6 SCORN OF WOMEN act i 

and glad to know you. They don't have men like 
you over there — real men. You'll create a sen- 
sation. 

Vanderlip 

(Anxiously.) 
But this living in palaces — sort of softening and 
fattening, ain't it ? I don't Hke fat. 

(Looks her over critically.) 
You don't incline that way, do you? 

LORAINE 

(Laughing.) 
You foolish, dear man, of course not. Do I 
look it? 

Vanderlip 

(Slowly.) 
Well, you look round — and plump. 

LORAINE 

I've always been plump hke this. I'm like my 
mother. She was that way. She never got stout, 
and neither shall I. 

Vanderlip 

(Anxiety going out oj face, being replaced 
by satisfaction.) 
Oh, you're all right, Loraine, you bet. 



ACT I SCORN OF WOMEN 1 7 

LORAINE 

But you must leave me now, Floyd. Somebody 
may com.e in at any moment. Besides, I've a few 
little things to buy for our journey. 

Vanderlip 

And they're fixing my money for me in there. 
{Nodding toward door at lejt. Loraine 
betrays keen and involuntary interest). 
Letters of credit, you know, and all that. Can't 
carry much dust. Too heavy. And by the 
way, keep the weight down. Don't buy too 
many little things. Dogs are dogs, and they can 
only haul so much. 

Loraine 
Only enough for me to be comfortable. 

Vanderlip 

A woman needs so almighty much to be com- 
fortable. But it'll be all right. Two sleds'U 
carry us, no matter how comfortable you make 
yourself. Bring plenty of foot-gear, moccasins, 
and stockings, and such things. And be at the 
water-hole at midnight with your whole outfit. 
Be sure that Indian of yours has enough dog food. 
I'll get my dogs to-day some time, 
c 



l8 SCORN OF WOMEN act i 

LORAINE 

Which water-hole? 

Vanderlip 

The one by the hospital. Don't make a mis- 
take and go to the other one. It's way out of the 
way. 

LORAINE 

And now you simply must leave me. And you 
mustn't see me again to-day — not till midnight, 
at the water-hole, by the hospital. You know I 
can scarcely bear to have you out of my sight. 
But these women — oh, they are such suspicious 
creatures ! 

Vanderlip 

Good-by, then, until to-night. 
{Turns to go toward left.) 

LORAINE 

(Softly.) 
Floyd ! 

(Vanderlip turns back.) 

You must go to the ball to-night. I've begged 
off, but you must go. It will avert any possible 
suspicion. 



act i scorn of women 19 

Vanderlip 

I was going anyway, just to drop in for a while. 
I — that is, you see — I promised Mrs. Epping- 
well I'd go. 

LORAINE 

{Jealously.) 
Mrs. Eppingwell ! 

Vanderlip 

Of course, but it's all right, Loraine. She don't 
count. 

Loraine 

Of course not. But then, Floyd, I care so much 
for you that I can't help a little jealousy — but 
there, there, you must go. Good-by, dear. 

Vanderlip 

Good-by dear, dear Loraine. 
{Turns to go toward left.) 



Loraine 



(Softly,) 
Floyd ! 



20 SCORN OF WOMEN 



Vanderlip 



{Turns back, waits, and after a pause.) 
Well? 

LORAINE 

(With sweet reproof.) 
I've been hearing things about you, sir. 

Vanderlip 

What's up now? 

LORAINE 

Oh, you seem to have — how shall I say ! — a 
penchant for foreigners. 

Vanderlip 

(Mystified.) 
Darned if I know what you're talking about. 
Penchant — is that something to eat ? 

LORAINE 

(Laughing.) 
Well, then, there is a certain woman, supposed 
to be Greek, at any rate a foreigner like myself; 
but with the most adorable accent — or so the 
men say — 



act i scorn of women 21 

Vanderlip 

(Interrupting.) 
Freda, you mean. 

LORAINE 

(Fastidious expression on face.) 
Yes, I believe that is the woman's name. 

Vanderlip 

(Laughing jovially.) 
There ain't anything in it. I don't care a rap 
for her — not a rap. 

LORAINE 

Then there's that Mrs. Eppingwell. I can't 
help thinking you are a little devoted to her. 

Vanderlip 

(Showing slight embarrassment.) 
Oh, well, I've only seen her in a social way — 
that's all, in a social way. 

LORAINE 

And you do love only me ? 
(He nods.) 
Then tell me that you do. 



22 SCORN OF WOMEN act i 

Vanderlip 

(With impulsive eagerness, half lifting his 
arms as if to embrace her and controlling 
himself with an effort.) 
Oh, I do, Loraine. I do, I do. 

LORAINE 

It is sweet to hear you say it. And now you 
really must go. Good-by, dear, good-by. 

(He crosses stage to left and goes out.) 
(She starts to cross stage to rear, but is ap- 
proached and stopped by Sitka Charley.) 



Sitka Charley 



(Gruffly.) 
Good morning. 



Loraine 



(Sweetly.) 
Good morning, Charley. 



Sitka Charley 



(Bluntly.) 
You got my money? 



ACT I SCORN OF WOMEN 23 

LORAINE 

Oh, let me see. How much is it ? 

Sitka Charley 
Two hundred dollar. 

LORAINE 

I'll tell you. You come to my cabin to-morrow 
morning, and I'll give it to you, 

Sitka Charley 

{Not letting on that he knows she is lying.) 
To-morrow morning you give me money? 

LORAINE 

At my cabin, don't forget. 

Sitka Charley 

All right, to-morrow morning. 

{He turns abruptly and starts to go toward 
stove.) 

Loraine 

{Calling.) 
Oh, Charley ! 

{He turns hack to her.) 
Is Dominion Creek very rich? 



24 SCORN OF WOMEN act i 

Sitka Charley 
Dam rich. 

LORAINE 

And do you know whether Mr. Vanderlip has 
any claims there ? 

Sitka Charley 

Me no know. 

(Starts to go.) 

LORAINE 

(Detaining him.) 
But Mr. VanderHp is very rich, isn't he? You 
know that ? 

Sitka Charley 

VanderHp dam rich. 

(Sitka Charley turns abruptly and goes 

back to stove.) 
(Loraine crosses stage to left rear to counter, 
where a clerk waits upon her.) 
(Enter Mrs. Eppingwell and Mrs. McFee 
from right. Both engage in brushing snow 
from moccasins.) 



act i scorn of women 25 

Mrs. Eppingwell 

{Finishing first, and looking about the store 
as if in quest 0} some one.) 
as I don't see anything of Captain Eppingwell, and 
he is the soul of promptness. 

Mrs. McFee 

(Still brushing snow.) 
Mayhap we are a bit early, Mrs. Eppingwell. 
But as I was saying, it's verra dootful morals the 
giving of this masked ball. Masked, mind you, 
with every low dance-hall creature a-dying to 
come and put decent folk to the shame of their 
company. I speak my mind, and it's ay shameful 
that honest bodies must be so sore put. There'll 
be ruffians and gamblers with masks over their 
sinful faces, and who's to know? And there's 
that Freda woman. 'Tis said she plays with the 
souls of men as a child with a wee bit of a pipe 
plays with soap-bubbles. And there's all the rest 
— bold hussies ! — who's to stop them from 
flaunting their fine feathers in our faces ? Who's 
to stop them, I make free to ask ? 

Mrs. Eppingwell 

(Smiling.) 
The doorkeeper, of course. It is quite simple. 
Masks must be lifted at the door. 



26 SCORN OF WOMEN act i 

Mrs. McFee 

Ou, ay, verra simple, I should say. Belike 
you'll undertake the doorkeeping, and belike you'll 
know the face of every rapscalHon of them. 

Mrs. Eppingwell 

We'll get one of the men who do know — Mr. 
Prince, for example. There he is, by the stove. 
We'll ask him to be doorkeeper. 

(Prince goes to rear and joins Loraine.) 

Mrs. McFee 

{With more than usual asperity.) 
And how comes it Mr. Prince should know the 
children of sin and still be company for decent 
bodies ? 

Mrs. Eppingwell 

Because he is a man, I imagine. 
(Mrs. McFee snorts.) 
There is Sitka Charley. I suppose you would bar 
him if he wanted to come? 

Mrs. McFee 

{Judicially.) 
Why, no, he's a verra good soul. 



act i scorn of women 27 

Mrs. Eppingwell 

Yet I'm sure he knows all the children of sin, 
you call them. 

Mrs. McFee 
But he's an Indian, and he doesna dance. 

Mrs. Eppingwell 

(Laughing.) 
Then I suppose I shall not shock you by speak- 
ing to him. 

(Approaches Sitka Charley, while Mrs. 
McFee goes to counter and is waited on 
by a clerk.) 
Good morning, Charley. Have you seen Cap- 
tain Eppingwell? 

Sitka Charley 

(Nodding good morning.) 
Yes. 

Mrs. Eppingwell 

How long ago ? Was he here ? 

Sitka Charley 
I see um last night. 



28 SCORN OF WOMEN act i 

Mrs. Eppingwell 

Oh! 

{Laughing.) 
I've seen him later than that. But he was to meet 
me here. 

Sitka Charley 
Um. 

Mrs. Eppingwell 

{Trying to make conversation.) 
It is rather cold this morning. 

Sitka Charley 
Um. . 

Mrs. Eppingwell 

How cold? 

Sitka Charley 

Sixty-five below. Any dogs to sell? 

Mrs. Eppingwell 
Still trying to buy dogs ! For whom this time ? 

Sitka Charley 
Vanderlip. He want eight dogs. 



act i scorn of women 29 

Mrs. Eppingwell 

{Startled and interested.) 
Mr. Vanderlip ? 

Sitka Charley 
Um. 

Mrs. Eppingwell 
What does he want with dogs ? 

Sitka Charley 
Um. Got dogs ? 

Mrs. Eppingwell 

{A sudden thought striking her.) 
Yes, I've dogs to sell. Or rather, Captain 
Eppingwell has. 

Sitka Charley 
Fresh dogs ? Strong dogs ? 

Mrs. Eppingwell 

{Considering.) 
Well, no. You see, he just arrived yesterday. 
It was a long trip. 



30 SCORN OF WOMEN act i 

Sitka Charley 

Yes, me know — sixteen hundred miles. Dogs 
all bones, all played out, no good. 

Mrs. Eppingwell 
How soon does he want the dogs? 

Sitka Charley 
Right away, now, to-day. 

Mrs. Eppingwell 
What does he want the dogs for? 

Sitka Charley 

{Stolidly.) 
Um? 

Mrs. Eppingwell 

What does Mr. VanderHp want the dogs for? 

Sitka Charley 

That no Sitka Charley's business. That Van- 
derhp's business. 

Mrs. Eppingwell 
But I want to know. 



act i scorn of women 31 

Sitka Charley 
Then you ask Vanderlip. 

Mrs. Eppingwell 

Tell me. 

Sitka Charley 

Much better you ask Vanderlip, I think so. 

(A pause, during which Sitka Charley 
merely waits, while Mrs. Eppingwell 
seems to he thinking. When she speaks, 
it is in a changed, serious tone.) 

Mrs. Eppingwell 

Charley, we have travelled the Long Trail 
together, you and I. 

Sitka Charley 

Urn. 

Mrs. Eppingwell 

We journeyed through the Hills of Silence. We 
saw our last dogs drop in the traces. We stag- 
gered and fell, and crawled on our hands and knees 
through the snow because we had not enough to 
eat, and it was very cold. We had our last food 
stolen — 



32 SCORN OF WOMEN ACT i 

Sitka Charley 

{Eyes -flashing, face stiffening, grimly and 
with satisfaction.) 
Captain Eppingwell kill one man who steal 
food. I kill other man. I know. 

Mrs. Eppingwell 

(Shuddering.) 
Yes, it was terrible. But we kept the faith of 
food and blanket, you and I, Charley. 

Sitka Charley 
And Captain Eppingwell. 

Mrs. Eppingwell 

And Captain Eppingwell. And by that faith of 
food and blanket I want you to tell me the truth 
now. 

Sitka Charley 
Urn. 

Mrs. Eppingwell 

(Eagerly.) 
Will you? 

Sitka Charley 

(Nodding his head.) 
Urn. 



act i scorn of women 33 

Mrs. Eppingwell 

{Hurriedly.) 
Mr. Vanderlip wants dogs, fresh dogs — why ? 

Sitka Charley 
He make a long travel, many sleeps. 

Mrs. Eppingwell 
Where? When? Tell me all. 

Sitka Charley 
Um travel down river. Um start to-night. 

Mrs. Eppingwell 
He goes alone? 

Sitka Charley 

{Shaking his head.) 
No. 

Mrs. Eppingwell 

Who goes with him? 

Sitka Charley 

Me go. 



34 SCORN OF WOMEN act i 

Mrs. Eppingwell 

{Irritably.) 
Yes, yes, of course. But you don't count. 
Anybody else ? 

Sitka Charley 

{Nodding his head.) 
Urn. 

Mrs. Eppingwell 

{Triumphantly.) 
Just as I thought. Tell me, Charley, it is — 
it is this — • er — this horrid woman ? You know. 

Sitka Charley 

Um, this bad woman — this damn bad woman. 
Um, she go with him, to-night, twelve o'clock, 
the water-hole. She meet um there. 

Mrs. Eppingwell 

{Eagerly.) 
Yes, yes. And then 

Sitka Charley 

And then she go with um, many sleeps, down 
the river. 



ACT I SCORN OF WOMEN 35 

Mrs. Eppingwell 
And you will get the dogs ? 

Sitka Charley 

Sure, I get um. 
(Enter Dave Harney from left, striding angrily.) 
I get um now — Dave Harney. Good-by. 

(Starts in the direction of Dave Harney.) 

Mrs. Eppingwell 
Wait a minute, Charley. 

Sitka Charley 

(Over his shoulder.) 
I come back. You wait. 

(Approaches Dave Harney.) 
Hello, Dave. Cold to-day. 

Dave Harney 

(Whirling upon him savagely.) 
You betcher life it's cold — regular freeze-out, 
with me frozen. But I'm goin' to quit it, quit it 
cold. I'll harness up my dogs and hit the high 
places for a land of justice where a man can get 
what he's ordered a year before and paid for. 



36 SCORN OF WOMEN act i 

Sitka Charley 
Got any dogs to sell? 

Dave Harney 
Got any sugar to sell ? 

Sitka Charley 
I buy um dogs. 

Dave Harney 
I'm buyin' sugar. 

Sitka Charley 

I got no sugar. You got dogs. I buy dogs — 
eight dogs — how much? 

Dave Harney 
Five hundred dollars a dog. 

Sitka Charley 
Um — eight dogs — four thousand dollar. 

Dave Harney 
Dogs is wuth what you're willin' to pay for 'em. 



act i scorn of women 37 

Sitka Charley 
Urn. 

Dave Harney 

Look here, Charley, I used to be a miner, but 
I'm a business man now. Got any sugar? 

Sitka Charley 
No sugar. 

Dave Harney 

I'll throw a lot off them dogs for some sugar. 
No sugar, they cost you four thousand. 
{Turns to go.) 

Sitka Charley 

{Making no movement to detain him.) 
Um. 

Dave Harney 

{Over his shoulder.) 
Four thousand, Charley. 

Sitka Charley 
Um. 

Dave Harney 

They're wuth it if you want 'em real bad. 



38 SCORN OF WOMEN act i 

Sitka Charley 
All right, Dave. I buy. 

Dave Harney 

Bring the dust around to my cabin at one 
o'clock. 

Sitka Charley 
I buy now. 

Dave Harney 

No, you don't. I'm goin' back to tell 'em what 
I think of 'em, the skunks ! They've got sweet- 
enin' in plenty for their own mush and coffee. 
You betcher life they have, and I'm goin' to get 
some of it or know the reason why. 

(Storms out through door to lejt.) 

(Sitka Charley returns to Mrs. Epping- 

WELL.) 

Sitka Charley 

That Dave Harney all the same one big robber. 
But I get um dogs all right. 

Mrs. Eppingwell 

Tell me about this — er — this woman, Charley, 
this Freda — Freda Moloof her name is, isn't it ? 



act i scorn of women 39 

Sitka Charley 

(Showing plainly that his attention has been 
called off from the consideration of Lo- 

RAINE LiSZNAYI.) 

Oh, Freda ! 

Mrs. Eppingwell 

(Smiling.) 
You call her Freda. 

Sitka Charley 

Everybody call her Freda. Um good name. 
Me like it. 

Mrs. Eppingwell 

Well, what kind of a woman is she ? 

Sitka Charley 
Um good woman. 

Mrs. Eppingwell 

(With an angry movement of arm and 
clenching of hand.) 
Oh! 

Sitka Charley 

(Looking surprised and getting stubborn.) 
Me know Freda long time — two years. Um 



40 SCORN OF WOMEN act i 

good woman. Um tongue speak true. Um just 
like you, no afraid. Um just like you, travel 
Long Trail with me. No afraid, very soft heart; 
sorry for dogs ; no ride on sled when dogs tired. 
Um tired, but um walk. And um tongue straight; 
all the time speak true. I am Sitka Charley — I 
know. 

Mrs. Eppingwell 

Yes, yes. Go on. 

Sitka Charley 

(Considering.) 
Freda no like men. 

Mrs. Eppingwell 

Now that is too much, Charley? How about 
Mr. Vanderlip? 

Sitka Charley 

(Shrugs his shoulders.) 

I know Freda long time. Freda know Vander- 

Hp short time. Maybe Freda like Vanderlip. I 

don't know. But before she never like men, that 

I know. Maybe you Hke Mr. Vanderlip I think. 

(Mrs. Eppingwell smiles, and Sitka 

Charley grows more positive.) 

Vanderlip come your cabin all the time. You 



ACT I SCORN OF WOMEN 41 

ride on Vanderlip's sled. I know. I see. Maybe 
you like Vanderlip. 

Mrs. Eppingwell 

You don't understand, Charley. I have reasons 
for being nice to Mr. Vanderlip. 

Sitka Charley 

{Sceptically.) 
Urn. 

Mrs. Eppingwell 

And, Charley, you mustn't tell anybody what 
you have told me about Mr. Vanderlip going away 
to-night with that — that woman. 

Sitka Charley 

{Weighing her words.) 
Maybe I tell Freda. 

Mrs. Eppingwell 

{Stamping foot angrily.) 
Don't be foohsh, Charley. She is the last per- 
son in the world who ought to know. Of course 
you'll not tell her. Tell no one. 
(Sitka Charley hesitates.) 
Promise me you'll not tell. Promise me by the 
faith of food and blanket. 



42 SCORN OF WOMEN act i 

Sitka Charley 

{Reluctantly.) 
All right, I no tell. 

Mrs. Eppingwell 

They say Freda is a dancer. Have you seen 
her dance ? 

Sitka Charley 

{Nodding his head, a pleased expression 
on his face.) 
I see um. Very good dance. Um dance at 
Juneau, two years ago, first time I see. Tread- 
well Mine no work that day. No men to v/ork. 
All men come Juneau and look see Freda dance. 
Freda makum much money. Um speak to me. 
Um say, "Charley, I go Yukon Country. You 
drive my dogs, how much ? " Then Freda travel 
Long Trail with me. 

Mrs. Eppingwell 
They say many men like her. 

Sitka Charley 

{Nodding head vigorously.) 
Um, sure. Me Uke her too, very much. 



act i scorn of women 43 

Mrs. Eppingwell 

(Smiling tolerantly.) 
And they say she makes fools of men. 

Sitka Charley 

Sure. Dam fools. Men just like bubble. 
Freda just make play with um — smash ! — just 
like that. Everybody say so. 

Mrs. Eppingwell 
What kind of a looking woman is she ? • 

Sitka Charley 
You no see um ? 

Mrs. Eppingwell 
No. What does she look Hke? 

(Freda enters from right.) 

Sitka Charley 
(Looking at Freda.) 
Um there now. 



44 SCORN OF WOMEN act i 

Mrs. Eppingwell 

(Not understanding.) 
What? 

Sitka Charley 

(Nodding head toward Freda.) 
Um Freda there. 

(Mrs. Eppingwell turns involuntarily to 
look. Freda pauses on entering, starts 
as though to retreat at sight of the crowd, 
then stiffens herself, face and body, to 
meet it, and proceeds to brush snow from 
moccasins. There is silence in store. 
Then a perturbation amongst miners 
about stove, men craning their heads over 
one another^ s shoulders to look at Freda. 
The clerks look at her. Everybody looks 
at her.) 

(Mrs. McFee turns up her nose several 
degrees, and, plainly advertising a highly 
moral rage, walks over to Mrs. Epping- 
well.) 

Mrs. McFee 

(To Mrs. Eppingwell, but glaring at 
Freda.) 
It's my way of thinking that it is high time for 
decent bodies to be going. 



ACT I SCORN OF WOMEN 45 

(Sitka Charley glares angrily at Mrs. 
McFee.) 

Mrs. Eppingwell 

{In low voice.) 
Hush. It is a public place, and she has as 
much right here as you or I. Don't insult the 
poor woman. 

Mrs. McFee 

{Snorting.) 
In my way of thinking the insult's the other way 
around. Come you, Mrs. Eppingwell, we must go. 
The verra air is contameenated. 

Mrs. Eppingwell 

{Pleadingly.) 
Do please restrain yourself, Mrs. McFee. 
Don't make a scene. 

Mrs. McFee 

{Raising her voice.) 
I'll no restrain myself, and I'll no wait for you 
if you see proper no to come now. The hussy ! 

(Mrs. McFee, nose high in the air, turns 
to make exit at right. Freda has just 



46 SCORN OF WOMEN act i 

finished brushing snow, and has risen 
erect. Mrs. McFee, passing her to go 
out the door, sniffs audibly and draws 
aside her skirt. Freda makes no move- 
ment, though her lips lighten. Exit 
Mrs. McFee. Freda tries to hang 
up wisp-broom, but her hand trembles, 
misses peg, and wisp-broom falls to floor. 
She picks it up and this time hangs it 
properly. Turns and goes to right rear 
to counter, where clerk waits upon her.) 

Sitka Charley 

{Glaring after Mrs. McFee, angrily). 
That womans no like Freda. What for? 

Mrs. Eppingwell 

(Speaking gently.) 
No women Hke Freda. 

Sitka Charley 

(Stunned, slowly.) 
You no Hke Freda ? 

Mrs. Eppingwell 
(More gently even than before.) 
No, Charley, I do not like Freda. 



act i scorn of women 47 

Sitka Charley 

(Showing anger.) 
What for you no like Freda ? 

Mrs. Eppingwell 
I cannot explain. You would not understand. 

Sitka Charley 

(More anger.) 
Me Sitka Charley. Me understand. What 
for you no like Freda ? 

(Captain Eppingwell enters from right.) 

Mrs. Eppingwell 

I — 

(Catching sight 0} Capt. Eppingwell.) 
There is Captain Eppingwell now. 

(Capt. Eppingwell brushes moccasins 
quickly, and goes immediately to Mrs. 
Eppingwell. Sitka Charley, still an- 
gry, joins group about stove.) 

Capt. Eppingwell 

Early, as usual, Maud. 



48 SCORN OF WOMEN act i 

Mrs. Eppingwell 
No, merely on time. It is you who are late. 

Capt, Eppingwell 

Impossible ! 

{Looks at his watch and smiles trium- 
phantly.) 
I knew it. On time to the tick of the second. 

Mrs. Eppingwell 

{Smiling.) 
Not by Dawson time. 

Capt. Eppingwell 

Oh ! of course. I haven't changed my watch. 
I'm still going by sun-time. Sorry. 

Mrs. Eppingwell 

{Smiling.) 
I forgive you. It is the first time, but I really 
can't count it against you. 

Capt. Eppingwell 

{Looking closely into her face.) 
What's wrong? 



act i scorn of women 49 

Mrs. Eppingwell 

Archie, you're the dearest man I know. Of 
course there is something wrong, and of course 
you knew it as soon as you set eyes on me. Well, 
I am beaten. 

Capt. Eppingwell 

The Ever- Victorious-One beaten ! Impossible ! 
I'll not believe it. 

Mrs. Eppingwell 

I am, just the same. Here I have been trying 
to save Floyd Vanderhp, counteracting that evil 
woman's influence, having him to tea and dinner 
and giving him no end of my time, and Flossie 
isn't here yet, and he runs away with Freda Mo- 
loof to-night. It's all arranged, and everything. 

Capt. Eppingwell 

But — but — wait a minute. Enlighten me. 
I am only a poor traveller. Who is this Flossie ? 
And why shouldn't this Vanderlip-man — who- 
ever he is — run away if he wants to ? 

Mrs. Eppingwell 

How ridiculous of me ! I forget you've been 
away. You know who Freda Moloof is? 



50 SCORN OF WOMEN act I 

Capt. Eppingwell 

Surely, surely. She has the most magnificent 
furs and the most magnificent dogs in all Alaska. 
A fascinating creature, I — er — understand. 
She plays with men as a child plays with bubbles. 

Mrs. Eppingwell 
It seems to me I've heard that before. 

Capt. Eppingwell 
It has become a saying in the country. 

Mrs. Eppingwell 

I have heard of men who whistle women up as 
they would whistle dogs. She must be the type 
of woman that whistles men. 

Capt. Eppingwell 

{Warmly.) 
All she has to do is look at a man. 

Mrs. Eppingwell 

{Smiling.) 
You speak as though she had looked at you. 



act i scorn of women 51 

Capt. Eppingwell 

(Smiling.) 
A very interesting woman. 

Mrs. Eppingwell 

Well, anyway, she has cast eyes and wiles upon 
Floyd Vanderlip. 

Capt. Eppingwell 
But why shouldn't she ? This is a free country. 

Mrs. Eppingwell 

Wait a minute. I'm trying to explain. Floyd 
Vanderlip is engaged to marry some one else. 

Capt. Eppingwell 

0-o-h! 

Mrs. Eppingwell 

Floyd Vanderlip is a big, strong man. For 
five years he chased Eldorados over the ice-fields, 
Hving on moose and salmon and working like a 
beast. He never had an idle moment in which 
to be wicked. Then he struck it on Klondike 
and is worth millions and millions. Also, he sat 
down for the first time in five years and rested. 



52 SCORN OF WOMEN act i 

He remembered a girl who was waiting for him 
do^vn in the States — a young thing — and sent 
for her to come in. They were to be married as 
soon as she arrived. He has a cabin all ready. 
Well, that's Flossie. She is coming in over the 
ice now — he's told me all about it — and ought 
to be here any day. I've been looking for her, and 
looking for her, till I am almost sick. Then this 
Freda Moloof cast her spell upon him. I heard 
the gossip — 

Capt. Eppingwell 

And proceeded to take a hand. I begin to un- 
derstand. 

Mrs. Eppingwell 

I did my best to break her influence. The time 
and thought I've wasted upon that man ! It's 
almost scandalous the way I've devoted myself 
to him ! Sitka Charley beheves I am in love with 
him — told me so to my face. And it's all 
wasted, card parties and everything. What was 
I against the only woman in Klondike who pos- 
sesses a piano and a maid ? And to-night he runs 
away down the river with her. 

Capt. Eppingwell 
With Freda Moloof? 



act i scorn of women 53 

Mrs. Eppingwell 

With Freda Moloof. There she is now, buying 
things for the journey most probably. 

Capt. Eppingwell 

(Turning to look at Freda, and turning 
back again.) 
I must say she couldn't have done better if he 
is worth all you say he is. I remember him now, 
a strapping fellow, brave as a Hon and all that. 

Mrs. Eppingwell 

Yes, but he's caressed more shovel-handles 
than women's hands, and that's the trouble with 
him. And I don't know what I shall do. 

Capt. Eppingwell 
You could scarcely serve an injunction on him. 

Mrs. Eppingwell 

I don't know what I'll do. Floyd Vanderhp 
is not the sort of man to appeal to. To try to im- 
press him to do the right thing would be Hke 
setting fire to a powder mill. I wish I knew how 
near Flossie is. There hasn't been a courier or a 



54 SCORN OF WOMEN act i 

mail carrier in for weeks and weeks. The mail 

from Dyea is twenty days overdue, 

{Enter Mail Carrier, carrying leather mail- 
pouch. He is clad in a long squirrel-skin parka 
reaching to his knees, the hood drawn over his 
head and ears and leaving only jace exposed. 
Face and mouth are iced-up, making speech im- 
possible. He does not stop to brush snow from 
moccasins, but proceeds rapidly to cross to stove.) 

Capt. Eppingwell 

There is the man who can tell you about Flossie. 
Shall I ask him ? 

Mrs. Eppingwell 

Oh! the mail carrier? At last! And in the 
nick of time. Yes, do. 

Capt. Eppingwell 

(Stepping into the path of the Mail Car- 
rier.) 
What's the news ? 

(Mail Carrier makes dumb show that he 
cannot speak, waving his arms and point- 
ing to his iced mouth and then to the 
stove.) 

(Capt. Eppingwell laughs and lets him 
pass.) 



ACT I SCORN OF WOMEN 55 

{To Mrs. Eppingwell.) 
He's so iced up he cannot speak. Wait till he 
thaws out, and then I'll get hold of him. In the 
meantime — 

Mrs. Eppingwell 

{Interrupting.) 
In the meantime you must meet the Lisznayi. 

Capt. Eppingwell 

The Lisznayi ! 

Mrs. Eppingwell 

Yes, she is a fascinating woman, our latest ac- 
quisition. An Old World Hungarian with all the 
do and dare of the New World blood. She was a 
friend of the Queen of Roumania. Posed as a 
model for the Queen. Had cardinals and princes 
at her beck and call. Plenty of money, of course, 
position, and all that. Came into the Klondike 
out of sheer love of adventure, and possibly be- 
cause she was bored. You'll enjoy her, I know. 
There she is over there. Do you care to? 

(Mrs. Eppingwell and Capt. Epping- 
well walk over to kit rear to Loraine 
Lisznayi and Prince.) 



56 SCORN OF WOMEN act i 

(Mail Carrier tries to get to stove, hut is 
blocked by miners, who are demanding: 
''What's the news?'' "How's the 
trail?" ''Any letters for me?" "And 
me?" "And me?" "Where did you 
meet O'Brien? He left ten days ago." 
"How's the ice on Thirty Mile River?" 
etc., etc. To all of which Mail Carrier 
replies by waving his arms and thrust- 
ing through the crowd till he gets to stove, 
over which he holds his face.) 
(Dave Harney enters from left, still in towering 
rage, but his face lights up, as though struck by 
a sudden thought, when he catches sight of Mail 
Carrier. He strides over, clutches Mail 
Carrier by the arm, and draws him to one side.) 

Dave Harney 

{In a whisper.) 
Got a noospaper? 

Mail Carrier 
(Nods head.) 

Dave Harney 

How many? 



act i scorn of women 57 

Mail Carrier 
{Holds up one -finger.) 

Dave Harney 
I'll give you twenty dollars for it. 

Mail Carrier 
(Shakes head.) 

Dave Harney 

(Bidding rapidly, each bid being met by a 
shake 0} Mail Carrier's head.) 
Twenty-five. Thirty. Thirty-five. Forty. 
Fifty. 

Mail Carrier 
(Nods head and goes back to stove.) 

(Freda walks forward toward stove and 
beckons to Sitka Charley, who leaves 
group about stove and comes to her.) 

Freda 

Tell the Mail Carrier I want to speak to him, 
Charley. 



58 SCORN OF WOMEN act i 

Sitka Charley 

{Obediently.) 
Urn. 

(Sitka Charley crosses to stove, where 
Mail Carrier is pulling the ice from 
his mouth.) 
Freda want talk some with you. 

Mail Carrier 

(Turning to look at Freda, nods head and 
mumbles incoherently, at same time start- 
ing to go to Freda and still pulling ice 
from mouth. He shakes hands with 
Freda and speaks thickly at first.) 
How do do, Freda. 

Freda 

How do you do, Joe. What kind of a trip did 
you have? 

Mail Carrier 

Pretty rough, but I made good time just the 
same. Passed everything in sight. 

Freda 
That is what I wanted to ask you about. Did 



ACT I SCORN OF WOMEN 59 

you pass the outfit of a girl, or, rather, of a young 
woman ? 

Mail Carrier 

Coming in by herself, with a dog-puncher and 
an Indian ? 

Freda 

Yes. Where did you pass her? 

Mail Carrier 

Yesterday afternoon, about three o'clock. They 
were making camp early. She was pretty tired 
from the looks of her. 

Freda 
When should she get in? 

Mail Carrier 

I talked with the dog-puncher. He said they'd 
camp to-night at Mooseback and come in to- 
morrow. That's twenty-five miles, and if they 
don't start too late, they'll make Dawson by the 
middle of the day. 

Freda 
What kind of a girl is she ? 



6o SCORN OF WOMEN act i 

Mail Carrier 
Good. How do you mean? 

Freda 

I mean what kind of a looking girl is she ? How 
did she strike you? 

Mail Carrier 

Oh, one of the soft and dingy kind, I guess I'd 
call her. You know, the kind that needs lots of 
cuddhng and petting. Pretty, yes, danged pretty. 
Blue eyes, wavy hair, and all the rest — trembly 
hps and teary eyes — smily and weepy, you know, 
all in the same moment. But, gee ! Freda, I 
can't stand here gassin' all day. I got about a 
thousand dollars' worth of letters to deliver — 
a dollar apiece and cheap at the price. I'll see 
you later. So long. 

Freda 

All right, Joe. Tell Sitka Charley I want to 
see him, will you ? 

(Mail Carrier returns to stove, picks up 
mail pouch, and sends Sitka Charley 
to Freda.) 



ACT I SCORN OF WOMEN 6l 

(Capt. Eppingwell comes to Mail Car- 
rier, and is leading him off to Mrs. 
Eppingwell when Dave Harney in- 
terposes.) 

Dave Harney 

Hold your bosses, Joe. How about that dicker 
for tbe noospaper? You said Yes to fifty. 

Mail Carrier 

{Pulling out his gold sack and drawing 
newspaper from pocket and giving both 
to Dave Harney.) 
All right. Just weigh the fifty into that. 

(Dave Harney takes gold sack over to 
scales, produces his own gold sack, and a 
clerk weighs from one sack into the 
other.) 

(Mail Carrier accompanies Capt. Epping- 
well to Mrs. Eppingwell.) 

(Capt. Eppingwell, Loraine Lisznayi, 
and Prince move along counter toward 
right and inspect mittens and moccasins.) 

Freda 

What time to-morrow has he decided upon 
starting ? 



62 SCORN OF WOMEN act i 

Sitka Charley 

No to-morrow. To-day, to-night, twelve 
o'clock to-night. 

Freda 
{Startled.) 
To-night ! Are you sure ? 

Sitka Charley 
Urn. 

Freda 

You said to-morrow. 

Sitka Charley 

Vanderlip um change mind. Look like much 
hurry. 

Freda 
And the Lisznayi woman? 

Sitka Charley 

She wait water-hole. Um meet her there. One 
Indian drive her dogs. Me drive Vanderlip's 
dogs. 

Freda 

But Vanderhp mustn't go to-night. I tell you, 
Charley, he simply mustn't. 



act i scorn of women 63 

Sitka Charley 

{Incredulously.) 
Urn. 

Freda 

Not only that, but you must help me to keep 
him from going. 

Sitka Charley 

{Angrily.) 
What for, Freda? I am Sitka Charley. I 
buy dogs, I sell dogs, I drive dogs. I help you 
dogs, yes. What for I help you other things? 
Vanderlip all the same one big chief. Um 
womans like um. 

{Holding up fingers.) 
One, two, three womans hke um. That um 
womans' trouble. No Sitka Charley's trouble. 
What for, Freda? 

Freda 
Why, what are you thinking about? 

Sitka Charley 
I think you one big fool, Freda. 



04 SCORN OF WOMEN act i 

Freda 

{Smiling sadly.) 
And I think you are right, Charley, when Hook 
back. 

Sitka Charley 

No look back. Right now. What for you 
make fool with Vanderhp? Him no good. Him 
big fool too. 

Freda 
Oh, I see. You think I am in love with him. 

Sitka Charley 

(With satisfaction.) 
Urn. 

Freda 

You really think so? 

Sitka Charley 

Um. What for you say he must no go to-night ? 
Um? 

Freda 

Listen, Charley. You must help me, and I'll 
tell you all about it. There is a little girl coming 
in over the ice to marry Vanderlip — 



act i scorn of women 65 

Sitka Charley 

{Interrupting excitedly.) 
One more woman ! Um Vanderlip one dam 
big chief. 

{Holding up fingers.) 
One woman, two woman, three woman, four 
womans. 



Freda 



{Surprised.) 
Four women? 



Sitka Charley 
Um. Four womans. 

Freda 
Who are they? 

Sitka Charley 

{Holding up fingers.) 
Little girl come in over ice — one. Lisznayi 
woman go 'way with um — two. Freda no want 
Lisznayi woman go 'way with um — three. Mrs. 
Eppingwell — four. One — two ■^— three — four 
— womans. 



66 SCORN OF WOMEN act i 

Freda 

{Surprised.) 
Mrs. Eppingwell ! Oh, you told me about 
her once. She was the woman who was with you 
on that trip through the Hills of Silence. She is 
a very brave woman. I have heard much of her, 
and I like her. If I were a man, I could love her. 
She must be very good, and sweet, and kind. 

Sitka Charley 

Sure. And um hard like iron sometimes. But 
um no Uke you. Um say so. What for um no 
like you? 

Freda 

{Gently.) 
No woman Ukes me, Charley. 

Sitka Charley 
All men like you. 

Freda 

{With touch 0} anger.) 
All men are fools. 

Sitka Charley 
What for womans no like you? 



act i scorn of women 67 

Freda 

{Meditatively). 
And she likes Vanderlip. How do you know? 
What do you know? 

Sitka Charley 
No can tell. I promise. 

Freda 
Promised whom ? 

Sitka Charley 

Mrs. Eppingwell. Um Mrs. Eppingwell very 
good woman. 

Freda 

But she has a husband. It is not good for her 
to like another man. What do you think ? 

Sitka Charley 

{Perplexedly.) 
I think I don't know. I think all um womans 
crazy. What for all um womans Hke this Van- 
derlip man ? 

Freda 

{Decisively.) 
Well, I don't. 



68 SCORN OF WOMEN act i 

Sitka Charley 

{Sceptically.) 
Urn. 

Let me show you, Charley, anc Jien you will 
know why I want you to help me. And, remem- 
ber, you mustn^t tell a word of any of this to any 
one. 

SiTKA Charley 

■(.hating the proposition.) 
Uni - maybe I tell Mrs. Eppingwell. 

Freda 

(Angr. 
Don't be Si.y, Charley. You mustn't tell 
anybody. Promise me now. 

Sitka Charley 

(With despairing perplexity.) 
All right, I no tell. 

Freda 

Now this httle girl is coming in over the ice — 
her name is Flossie. She has lived a soft life 
down in Cahfornia, where the sun is warm and 
there is no snow. Slie does not know hardship, 



ACT I SCORN OF WOMEN 69 

nor the trail, and she is having a hard time now 
on the trail. Think of it ! — sixty-five degrees 
below zero this morning, and she is out in it, walk- 
ing, walking, walking, her breath freezing, her 
mouth icing up, her eyebrows rimed with frost. 
And she is very stiff, and sore, and tired. Every 
step of the trail she takes in pain. It is like a bad 
dream to her, Charley. But she sees, always 
before her, at the end of the dream, an awaken- 
ing at Dawson, in the arms of the man who is to 
marry her. But, Charley, what if when she gets 
to Dawson there is no Floyd "/anderlip ? no man 
to marry her? It will break her heart. It will 
be no happy awakening from a bad dream, but 
the beginning of a worse dream. And she is a 
little girl, Charley — not a strong woman like me 
who does not care. She will care, and she will 
know nobody, and she will cry, and cry, and cry. 
Did you ever hear a woman cry, Charley? Think 
of it, she is only a Httle girl. 

Sitka Charley 
Um. More Hke baby. 

Freda 

Yes, put it that way, more like a baby. She 
cannot stand pain. 



70 SCORN OF WOMEN act i 

Sitka Charley 
Oh, on trail, too much walk make um hurt. 

Freda 
No, no. 

(Holds hand to heart.) 
Pain here. 

Sitka Charley 

Um. I know. Um sick. What um call — 
heart disease. I see one man sick that way. Um 
fall down dead, just like that. 

Freda 

(Irritably.) 
Oh, you don't understand. 

Sitka Charley 

(Puzzled.) 
I don't know. Womans all crazy. 

Freda 

(Smiling.) 
I think I can explain. Last summer you were 
in a canoe race on the river. You paddled very 
hard, but you lost. 

(Putting hand to heart.) 
And it hurt you — 



act i scorn of women 7 1 

Sitka Charley 

{Interrupting.) 
Um. Um. Paddle like hell. No win race. 

{Stroking first one arm and then the other.) 
Much tired right here. 

{Putting hand over heart.) 
And um much hurt right here, no tired, just hurt 
like rheumatism, because I am sorry I lose race. 

{Nods head repeatedly.) 
Um. Um. 

Freda' 

The very thing. She doesn^t know it, but she 
is racing against this Lisznayi woman. Flossie 
must get here before the other woman steals her 
man. And you must help her win the race. 
Will you? 

Sitka Charley 

You know this Flossie girl? 

Freda 
No. 

Sitka Charley 
No? 

Freda 

Never saw her in my life. But she is coming 
into a strange country without a friend or a dollar 



72 SCORN OF WOMEN act i 

when she gets here. She will have great trouble. 
And you know, Charley, it is not good for a woman 
to be without friends or money in this country. 

SiTKr Crarley 

(Ptizzled- as much as ever.) 
Don't know Flossie girl. No like Vanderlip 
man. What for you care? . . . Much foolish- 
ness. Ail womans crazy. - o , Ail right, I help. 

(Mait Carrier has finished interview 
■with Mrs. Eppingwell, received gold 
sack hack jrom Dave Harney, and gone 
out with mail pouch to left. Capt. 
Eppingwell and Loraine Lisznayi 
have rejoined Mrs. Eppingwell.) 

(Loraine Lisznayi says good-hy to them, 
and starts to make exit to right, passing 
close to Freda and Sitka Charley. 
She pauses one or two paces away.) 

Loraine 

{Favoring Freda with a quick hut sweepings 
scornful glance.) 
Come here, Charley. I want to speak to you a 
moment. 



ACT I SCORN OF WOMEN 73 

{Her conduct angers Sitka Charley, wJio 
grows stolid and refuses to move or reply.) 

Freda 
Speak with her, Charley. 

Sitka Charley 

{Sullenly.) 
No speak. 

(L0R7' : T/l3Zna\:^ scornjid, expression 

on ]ace^ proceeds 0% her %vay^ and ■!nal:,es 
exit to. fight.) 

F.E.EDA 

Why didn't you, Charley ? 

Sitka Charley 

{Angrily.) 
What for she look at you that way? 

Freda 

{Ignoring the question.) 
They say she is a rich woman in her own coun- 
try. But I don't believe it. I think she is after 
Vanderlip's money. 



74 SCORN OF WOMEN act i 

Sitka Charley 

Lisznayi woman no got money. I know. I sell 
her dogs — eight hundred dollars. She pay me 
three hundred. Two weeks, three weeks, I no 
get other five hundred dollars. Um no got five 
hundred. I say, "My dogs, give me back." She 
give back. Me have fur robe. Good fur robe. 
She buy, two hundred dollar. Um no pay. 
Um have good fur robe. Me no have nothing. 
Um have cabin, Um no pay rent to Johnson. 
Um smile very nice, um Johnson wait. I know, 
I see. Um dogs she got now, Vanderlip give, 
make present. Um no pay firewood. Um no 
pay many things. 

Freda 

I thought so. And now to win the race. Dogs 
first of all. Flossie must be brought in to-night. 
I want you here in Dawson, Charley. So you 
must send some Indian up the, trail with a fresh 
team of dogs. Flossie camps at Mooseback to- 
night. He is to let her think that Vanderlip has 
sent the dogs, and that Vanderlip wants her to 
come right on to-night. Understand? 

Sitka Charley 
Um. Sure. 



act i scorn of women 75 

Freda 

(Preparing to start toward door at right.) 
Start the dogs right away with a man you can 
trust. And he must be sure to let Flossie think 
that Vanderlip sent him. At the best, Flossie 
can't arrive until late to-night. And there may be 
delays. You keep on Vanderhp's trail so that 
you will know always where he is. 

(Freda and Sitka Charley start to walk 
toward the door aL right.) 
When I send for him you must bring him to me, 
and I'll hold him till Flossie gets in, 

Sitka Charley 

{Touching Freda's arm.) 
No very strong, Freda. 

Freda 

{Tapping her forehead.) 
Vanderlip no very strong, Charley. 

(Both cover ears, pull on mittens, and go 
out.) 

(Dave Harney, unobserved, has been 
squatting on hams in front of counter 
to right, intently reading newspaper. 
He is making dumb show of excited in- 
terest. One of the miners discovers him, 



76 SCORN OF WOMEN act i 

runs over to him, and starts to read news- 
paper over his shoulder. Dave Harney 
folds newspaper across, resting it on his 
knee, and looks up coolly into face of 
Miner.) 

Miner 

(In hurt voice.) 
Can't vou give o fciiow- a Kquinr at your paper? 

Dave Harney 

Go!; any sugar ^ 

Miner 

Sure. 

Dave Harney 

Give me a ".iiacK. ai yuar sugar barrel? 

Miner 

(Surprised and shocked.) 
No. 

Dave Harney 

Then nary squint at my noospaper. 

(In meantime other miners and clerks have 
surrounded him, all demanding to see 
his newspaper. Whereupon he puts paper 
in his pocket, rises to his feet, and starts 



ACT I SCORN OF WOMEN 77 

toward door to right, miners and clerks 
following him and grumbling at his 
meanness.) 

Dave Harney 

{Pausing with his hand on door.) 
You think you're smart, don't you? Got a 
corner on sugar, eh? And poor Dave Harney 
left without no sweetenin ■ for 'lis coffee an' rnj.sh. 
Well, poor Dave Harney's got a corner on loos. 
When you want noos, come an' see liim, vvi be 
sure an bring your sugar along. 

{Goes out, followed by miners,) 

(Mrs. Eppingwell and Capt. Epping- 
WELL come forward to skrue and warm 
their hands.) 

Capt. Eppingwell 

{Continuing conversation.) 
Perhaps Freda doesn't know about Flossie. I 
always thought her a good girl at heart. 

Mrs. Eppingwell 

Why this haste then? Why are they running 
away to-night instead of to-morrow as they had 



78 SCORN OF WOMEN act I 

planned? They must have received information 

somehow, even before the mail carrier arrived. 

{Enter Mail Carrier jrom left.) 

And look how she captured the mail carrier at 

once, and for one thing, I know, to learn Flossie's 

whereabouts. 

Capt. Eppingwell 

Here he is now. Let's ask him. 

(Beckons Mail C^arrier over to him.) 
You were talking with Freda a little while ago. 
vyiba,c did she want to learn? 

Mail Carrier 

(Pausing only long enough to reply, and 
then going on to make exit to right.) 
Same thing as your wife — where I passed that 
girl's outfit. 



Mrs. Eppingwell 



(Quietly.) 
I knew it. 

Capt. Eppingwell 

But why couldn't I go around, or you, and talk 
with Freda, explain the situation fully to her, and 
make an appeal to whatever good is in her? 



act i scorn of women 79 

Mrs. Eppingwell 

(Smiling.) 
You don't know women, Archie, 
(Adding as an afterthought.) 
— as well as women know women. No, she must 
be beaten at her own game. Flossie must arrive 
before midnight to-night. 

Capt. Eppingwell 
But she camps at Moosoback. 

Mrs. Epping^vell 

There are dogs in Dawson. Now, Archie, this 
is for you to do. Borrow a team of fresh dogs 
somewhere, put your Indian in charge of it, that 
one-eyed man, he's faithful, and start him up the 
trail to Flossie. Let her think Floyd Vanderhp 
has sent the dogs to bring her in right away. 

Capt. Eppingwell 

(Smiling.) .--■■ ~ 

Ah, I see. The impatience of the ardent and 
long-denied lover. 

Mrs. Eppingwell 

(Smiling in return.) 
And once Flossie is here and gets her arms 



V 



8o SCORN OF WOMEN act i 

around Floyd Vanderlip's neck, Freda Moloof 
will wait in vain at the water-hole. 

Capt. Eppingwell 

That will settle it. Freda's not the woman to 
stand knockip- ;i-'- feet around a water-hole very 
long for any U'ia . 

Mrs. Eppinjwell 

{Good-fiattifcdLy ) 
You seem . " ' "^w rj great deal about what kind 
'"^■f a ""^'oman this u. 

Capt. Eppingwell 

I know enough about her, when it comes to 
Vanderlip and Flossie, to think her the best of 
the boiling . . . and to have a sneaking regret 
for her being beaten this way. 

Mrs. Eppingwell 

You may be kind-hearted, Archie, but you are 
unwise. 

Capt. Eppingwell 

{Sighing.) 
Oh, well, after the manner of civilized man I 



ACT I SCORN OF WOMEN 8l 

submit to my womenkind. All right, I'll send the 
dogs at once. 

{Makes a movement to start toward door to 
right, and Mrs. Eppingwell starts with 
him.) 
(Mrs. Epping ^.i, struck suddenly by a 
nevj idea, pi. 'jcs. Capt. Ep7INGWELL 
pauses a step -i advance and look: at her.) 
What's wrong now? 

Mrs. EppiRGV/Ei.i. 

Suppose there is some jrisc'ianLc, ■'! us.ldy, and 
Flossie doesn't get in by midnight? 

Capt. Eppingwell 
Then Freda wins. 

Mrs. Eppingwell 

(Decisively.) 
No, she doesn't. 

(Thinks for a moment.) 
Floyd Vanderhp is coming to the ball. I'll see 
that he comes. I'll be very nice to him and watch 
hirn closely so that he does not sneak away. If 
Flossie fails to arrive, say by half-past eleven, I'll 
be taken ill, and I'll ask Vandcrlip to take me home ; 
and I'll hold him, no miatter how terribly ill or 



82 SCORN OF WOMEN act i 

terribly nice I have to be, until midnight is well 
past or until Flossie arrives. 

Capt. Eppingwell 

Then it's my duty to disappear about the time 
you are taken ill. 

Mrs. Eppingweli:- 

Archie, though ^M-H you for the thousandth 
time, you are a^^erfect dear. And I can be as 
terriblv J2ice as I please to Floyd VanderUp? 

(Capt. EpptNGWELL laughs and nods, and 
they continue toward door.) 

Mrs. Eppingwell 

(While they are pulling on mittens, etc.) 
And now the dogs. Don't delay a moment, 
Archie, please. 

Capt. Eppingwell 

The one-eyed man and the six dogs start at 
once. 

(They go out.) 

(Only clerks behind counter are left on the 
stage.) 



:t I SCORN OF WOMEN 83 

{Nothing happens for a full minute, when 
Mrs. McFee appears at right, peeping 
through door, which she holds ajar. 
She peers cautiously about, enters, and 
sniffs the air several times. Then she 
smiles a sour smile of satisfaction.) 

Mrs. McFee 

And now a decent body can make her purchases. 

CURTAIN 



ACT II 
ANTEROOM OF PIONEER HALL 



ACT 11 

Scene. Anteroom of Pioneer Hall. It is ten-thirty P.M. 
The room is large and bare. Its walls are of logs, 
stuffed between with brown moss. Street door to rear, 
in centre. Doors, window- frames, and sashes of rough, 
unstained pine boards. At one side of door is wisp- 
broom for brushing snow from moccasi?is. On either 
side of door is an ordinary small-paned window, and 
beneath either window is a rough wooden bench. Under 
benches are large out-door moccasins, left there after the 
manner of overshoes, by their owners. In available 
space on rear wall, many wooden pegs, on which are 
hanging furs, parkas, hats, wraps, etc. Midway be- 
tween front and rear, and at equal distances between 
centre and sides, running at full blast, are two large 
wood-burning stoves. Alongside each stove is a wood- 
box filled with firewood. On right, a window. On 
left, wide doorway, open, connecting with ballroom. 
Throtigh doorway come occasional snatches of dance- 
music, bursts of laughter and of voices. 

Because it is very cold, street door is kept closed, and is 
opened by doorkeeper only when some one knocks, and 
then only long enough for that one to enter. All par- 
leying is done on inside with door closed. 

Prince, as doorkeeper, is stattding at rear by street door. 
Men and women, in costume, are disappearing through 
door to left, from where come strains of a waltz. 

Prince 

{Drawing up his shoulders, as i} cold.) 
B-r-r ! 

87 



88 SCORN OF WOMEN act n 

(Crosses rapidly to left and peers through 
doorway into ballroom, looking for some- 
body. Holds up Ills finger and beckons.) 
Here, you, Billy ! More fire ! Hi yii skookum 
fire! 

(Enter Indian, ivho proceeds to fire up both stoves.) 

(Prince stands looking into ballroom. A 
hiock is heard at street door. He returns 
and opens door.) 

(A Man enters, masked and in heavy fur over- 
coat.) 

Prince 

(Hastily closing door.) 
Hello. 

(The Man hesitates, looks around, and 
starts to cross to left.) 

Prince 

(Plucking him by the arm.) 
Well? 

Man 

(Pausing, and then, as if discovering reason 
for his detentio7i.) 
Oh! 

(Sits down on bench and proceeds to re- 
move moccasins.) 



act ii scorn of women 89 

Prince 
Masks must be lifted at the door, you know. 

Man 

{In muffled voice.) 
And give myself away? Oh, no. 

Prince 

The doorkeeper's lips are sealed. I give no- 
body's identity away. Come on, let's see who 
you are. 

{Reaches out and lijts mask.) 
Jack Denison ! 

Man 

{In clear voice.) 
Yours truly. Prince, my boy. 

Prince 
But you can't come in here, old man. 

Man 
And why not ? 

Prince 

{Stuttering and stammering.) 
Why — I — they're damned select — it's the 



90 SCORN OF WOMEN act ii 

women, you know — and I — they — well, they 
made me doorkeeper, and — 

{Breaking down.) 
— you know well enough yourself, Jack. 

Man 

{Rising as though to go, and in angry tones.) 
By God, you can come down to Jack Denison's 
joint all right, and buck Jack Denison's faro 
layout all right, and have a social drink with him 
all right; but when Jack Denison comes up to 
your doings, you tum'm down like he had small- 
pox. 

Prince 

It's not my fault. It's the women, I tell you. 
They're running the show. 

Man 

(Wheedlingly.) 
You might let a fellow in just for a peep. No- 
body'U know. I'll clear out before they unmask. 

Prince 

{Pleadingly.) 
I can't really, old man, I — 

{Catches sight of Mrs. McFee, who ap- 
pears in doorway to left.) 



ACT II SCORN OF WOMEN 91 

Look at her ! Get out quick ! 

{Places hand on his shoulder in friendly 
way and starts to shove him out.) 

Man 

(Catching sight of Mrs. McFee.) 
Wow ! 

(With bodily expression of fear, shrinks 

behind Prince and allows himself to 

be shoved out.) 

Mrs. McFee 

(Crossing over to Prince, and suspiciously.) 
Who might that body be? 

Prince 

(Wiping his brow.) 
One of the unelect, I am sorry to say, Mrs. 
McFee. 

Mrs. McFee 

A gambler man, I take it? 
(Prince nods.) 
But I can no see, Mr. Prince, why you should con- 
duct negotiations inside the door, contameenating 
the air with the bodily presence of the children of 
sin. 



92 SCORN OF WOMEN act ii 

Prince 

(Slight note of anger in his voice.) 
Do you know how cold it is, Mrs. McFee ? 

Mrs. McFee 
I have no given it a thought. 

Prince 

Well, it's seventy degrees below zero, and still 
going down. If that door is open one minute, 
a refrigerator would be comfortable alongside 
that ballroom. And if you don't like the way I'm 
doing things — 

{A knock is heard, and he opens door. Sitka 
Charley squeezes in.) 

Prince 

(Very politely.) 
Can Sitka Charley come in, Mrs. McFee? 

Mrs. McFee 

[Turning to go.) 
He is a good body. There is no reason why he 
should not bide a wee. 

{To Sitka Charley.) 
But you must go right away again, Charley. 



ACT n SCORN OF WOMEN 93 

Sitka Charley 

(Nods his head, and then to Prince.) 
Where um Vanderlip? 

Prince 

He's here somewhere. Go and find him. 

(Laughter and voices, and many couples 
enter from left, some in costume, several 
in hooded domino s.) 

Sitka Charley 

{Recoiling, startled and excited.) 
What that ? 

(Prince laughs.) 
What for ? Everybody crazy ? 

Prince 

{Laughing.) 
Button, button, who's got the button. Go and 
find him. 

(Sitka Charley, walking stealthily, like 
a wild ani?nal in dangerous territory, goes 
adventuring amongst the maskers.) 

{After some time, a domino takes Sitka 
Charley hy the arm and leads him apart.) 



94 SCORN OF WOMEN act n 

Sitka Charley 

(Dragging back and struggling to escape.) 
What for, crazymans? 

Vanderlip 

Shut up ! It's me, Vanderlip. Looking for 
me? 

Sitka Charley 

(With relief.) 
Um. 

Vanderlip 

Anything wrong? 

Sitka Charley 

(Shaking head.) 
No wrong. All right. Um Freda want you 
come right away. 

Vanderlip 

(Siir prised.) 
Freda ! What's she want with me ? 

Sitka Charley 

Um no tell. Um say : " Charley, you go Pioneer 
Hall quick. All the same one big dance. You 



ACT u SCORN OF WOMEN 95 

catch um Vanderlip, You make um come right 
away." 

Vanderlip 

(Puzzled.) 
Where? 

Sitka Charley 

Um Freda's cabin. You come now? 

Vanderlip 

(Thinks for a minute, with a bothered air,) 
I'll come in a little while. You tell her. 

(Turns to rejoin dancers, and speaks over 
shoulder.) 
Dogs all right ? 

Sitka Charley 
Um. 

Vanderlip 
Be at the water-hole at twelve o'clock? 

Sitka Charley 
Um. Sure. 

(Sitka Charley gains street door and goes 
out.) 

(A knock is heard at door. Enter Dave Harney, 
costumed as a Scotch minister. He passes 



96 SCORN OF WOMEN act n 

Prince's inspection, removes street moccasins 
and parka, and walks to the front. His sham- 
bling, loose-jointed gait discovers him. There is 
hand-clapping a?id laughter, and there are cries 
of ' ' Harney I Harney / " " D ave Harney 1 ' ' 
Crowd sings, ^^For the sugar -man will catch 
you if you don't watch out.'' He accepts the 
discovery, goes over to stove at right, pulls news- 
paper out of pocket, and begins to read. The 
dancers crowd about him, demanding the news. 
He makes to be offended by them and walks away, 
reading paper. They follow behind him, still 
clamoring for the news. He promenades about 
stage and then makes exit to left, followed by the 
whole crew, with the exception of one domino and 
a Court Lady of the time of Louis XVI, who 
linger by stove to left.) 

Court Lady, Mrs. Eppingwell 
I haven't seen your make-up, Archie. 

Domino, Capt. Eppingwell 

{In disguised voice, declaiming.) 
Would that I might claim Archie for myself, 
there is such affectionate possession in the way 
you say it. Who is this Archie, sweet lady? 



ACT u SCORN OF WOMEN 97 

Mrs. Eppingwell 

Come, come, x^rchie, a truce to fooKng. Be- 
sides, you can't fool me anyway. Did you get 
the dogs off? 

Capt. Eppingwell 

{In natural voice.) 
Promptly, and with the one-eyed man. Also a 
spare man to come back post-haste and let us 
know their progress. 

Mrs. Eppingwell 
Then when should Flossie arrive? 

Capt. Eppingwell 

We figured it out. Barring accidents, or the 
unusual, she'll be here by eleven-thirty — at any 
rate, not later than midnight. 

Mrs. Eppingwell 

(Considering.) 
Not later than midnight. 

Capt. Eppingwell 

Of course, after all, one can't tell vidthin an 
hour. 



98 SCORN OF WOMEN act ii 

Mrs. Eppingwell 
And she is to be brought here? 

Capt. Eppingwell 

She'll ride the sled right up to the door. A 
knock, and then, enter Flossie. 

* Mrs. Eppingwell 

(With gratified smile.) 
And then all our troubles will be over. And 
now for your make-up. I insist. 

(Capt. Eppingwell slips off domino and 
stands forth a faithful copy of Sitka 
Charley.) 

Mrs. Eppingwell 
Sitka Charley ! 

Capt. Eppingwell 

(Imitating Sitka Charley's voice.) 
Um wantum dogs ? I sell um dogs, much good 
dogs. 

Mrs. Eppingwell 

(Clapping her hands.) 
Excellent ! 



ACT II SCORN OF WOMEN 99 

{She catches sight of Sitka Charley, who 
is entering through street door at rear.) 

Quick ! 

(Helps Capt. Eppingwell on with dom- 
ino.) 

Now let us return to the ballroom and find Floyd 

Vanderlip. I'm pretty sure of him. He's in a 

domino, too. 

( They start for exit to left. Sitka Charley, 
mistaking Capt. Eppingwell ior Van- 
derlip, signals to him a desire to speak 
with him, but is ignored. Exit Mrs. 
Eppingwell and Capt. Eppingwell. 
Sitka Charley stands a moment, puz- 
zled, watching them go, then follows after 
them. Makes exit, and a moment later 
enters with Vanderlip, who is still in 
domino. 

Vanderlip 

{Testily.) 
What do you want now? 

Sitka Charley 
Me no want. Freda want. 

Vanderlip 
What's she want? 



lOO SCORN OF WOMEN act ii 

Sitka Charley 
Want you. 

Vanderlip 

I haven't anything to do with her. She can keep 
on wanting. I'm busy. 

Sitka Charley 
Um want you now, right away, quick. 

Vanderlip 

(Angrily.) 
You go to the devil. And she can go, too, for 
all I care. 

(Enter Dave Harney from left, still reading news- 
paper, and followed by the dancers.) 

Sitka Charley 
I tell Freda you say go to devil ? 

Vanderlip 

(Flinging away angrily.) 
Tell her ! Tell her ! Just as long as you quit 
bothering me. 

(And then, seriously.) 
And when you've told her you'd better go and see 
everything's in shape. 



ACT n SCORN OF WOMEN lOI 

Sitka Charley 

(Starting for street door.) 

Dogs, sleds, everything all right. 

(Exit Sitka Charley.) 

Dave Harney 

(In centre oj stage, turning suddenly upon 
rout at his heels.) 
Well? What d'ye want? 

(The rout gathers about him, facing him. 
There are cries of: '^The news! The 
news!" ^^ What's happening down in 
God's country?'' '^Who won the cham- 
pionship?" '^How'd the election turn 
out?" "Was Tammany downed?" 
"Is it true the United States is fighting 
Germany?" "Is war really declared?" 
etc.) 

Dave Harney 

Got any sugar? 

(Groans, cat-calls, and laughter.) 

A Voice 

The meanest man in the Klondike. 



I02 SCORN OF WOMEN act ii 

Dave Harney 

So you'd be, dodgast you, if you hcdn't no 
sweetenin' for your coffee and mush. 

Another Voice 
Speech ! Speech ! 

Voices 
Speech ! Speech ! 

Dave Harney 

All right, consarn you, I'll speechify. 
{Clears his throat.) 
Ladies an' gentlemen — ahem — 
{Stops to clear throat.) 

A Voice 

Bring him some water. A glass of water, please, 
for the speaker. 

Another Voice 
Get a box for him. 

{The 'firewood is dumped out of the wood- 
box, which is placed before Dave Har- 
ney upside down. He is helped upon it.) 



ACT II SCORN OF WOMEN 103 

A Voice 

Now he's going to read us all the news. 
{Cheers and hand-clapping.) 

Dave Harney 

(Folding newspaper and putting it in his 
pocket.) 
My friend, you've got another guess comin'. 
I'm goin' to read you the riot act. An' here it is, 
short an' simple. You've got all the sugar, an' 
I've got all the noos. Nothin' to it but a dicker. 
We'll swop. That's what we'll do, we'll swop. 

(Cheers.) 
An' I say again, for them as is dull of hearin', 
we'll swop. After the unmaskin', you all will 
assemble here in this here room an' hear the 
noospaper read, advertisements an' all. 

(Cheers.) 
An' in the meantime, I'm open to subscriptions 
in the form of promissory notes. Said notes shall 
be for the sum of one heapin', large tin cup of 
sugar, white or brown, to be paid to party of the 
first part — you all is party to the second part — 
to be paid to party of the first part inside twenty- 
four hours after the delivery of the goods, to wit, 
the noos. Said party of the first part hereby 
agreein' to send a man with a sack around to the 



I04 SCORN OF WOMEN act ii 

cabins of said party of the second part an' collect 
face value of promissory note, to wit, one heapin', 
large tin cup of sugar, white or brown. Them 
that signs notes hears the noospaper read, them 
that don't, don't. Thankin' you kindly, one an' 
all, I remain, yours truly, an' am ready to take 
promissory notes here an' now. 

{Cheers, laughter, and consent.) 

A Voice 
But we haven't any pen or ink, Dave. 

Dave Harney 

You've got to sit up all night to get up earlier 
than Dave Harney in the mornin'. Here you are. 
{Draws pen, inkstand, and paper pad from 
pockets.) 
An' you might as well sign first, young feller. 
{The signing of notes begins, Dave Har- 
ney, with ink and paper, passing from 
one to another as the rout breaks up and 
starts back to ballroom for next dance.) 
{Pausing in doorway to left.) 
Just as easy — like shooting fish in a bucket. 
{Goes out.) 

{Enter Mrs. Eppingwell on arm of Vanderlip, 



ACT II SCORN OF WOMEN 105 

who is still in domino. They promenade, 
talking, about room. They are followed by 
LoRAiNE LiszNAYi, masked and magnificently 
costumed, who keeps her eyes on them and 
betrays keen interest in them.) 

Mrs. Eppingwell 

Wasn't it funny I guessed you, Mr. Vanderlip, 
in that first dance ? 

Vanderlip 
You have a good eye. 

Mrs. Eppingwell 

And possibly I really wanted to find you, you 
know, 

Vanderlip 

{Awkwardly, but pleased.) 
Hum, yes, I suppose so. And I was looking 
for you, too, hard as I could. 

Mrs. Eppingwell 

You'd never guess how I guessed you. 

(He shakes his head.) 
It is very simple. You are the same height as 
Captain Eppingwell. 

(She laughs merrily.) 



I06 SCORN OF WOMEN act u 

Vanderlip 
(Looking at dance-card.) 
Hello, I haven't the next dance with you 1 

Mrs. Eppingwell 

No, that's promised to — well, to somebody 
else. 

Vanderlip 
But the next after is mine. 

Mrs. Eppingwell 

{Looking at dance-card.) 
And the next after that. I'm almost afraid I'm 
dancing too much with you. What will people 
say? 

Vanderlip 
(Pleased, and eagerly.) 
Ah, but they don't know who we are. 

Mrs. Eppingwell 

They will after the unmasking. Then they will 
remember us together so much. 

Vanderlip 

(As though struck by a thought of something 
else.) 
What time will they unmask? 



act u scorn of women i07 

Mrs. Eppingwell 

Two o'clock. And 
{Looks at card.) 
there is a waltz after that I should like. You do 
waltz so well, Mr. Vanderlip. 

Vanderlip 

I won't be able to make that waltz, I — 
{Breaks off suddenly.) 

Mrs. Eppingwell 

Why, you, of all men, are not going home 
early ? 

Vanderlip 

No — I — that is — 

{Looks at card, studies it profoundly, as 
though it would get him out of his diffi- 
culty.) 
Why, yes, of course we can have that waltz to- 
gether. I thought it was already engaged, that 
was all. 

{Enter Capt. Eppingwell, who comes up to them, 
still in domino.) 



I08 SCORN OF WOMEN act ii 

Capt. Eppingwell 

(Disguising voice.) 
The next is mine, I believe, fair lady. 

(Vanderlip ranges up alongside 0} him 
and measures height oj shoulders. Capt. 
Eppingwell curiously observes the ac- 
tion, and speaks with grujj voice.) 
Well, stranger, what's up ? 

Vanderlip 
We're both up. 

Capt. Eppingwell 
Up to what ? 

Vanderlip 

Up to each other. We're the same height, and 
I've guessed you, Captain Eppingwell. 

{All laugh together, and Capt. Eppingwell 
bears Mrs. Eppingwell away. They 
make exit to left.) 
(Loraine accosts Vanderlip.) 

Loraine 

(In disguised voice.) 
A word in your ear, sir. 

(Vanderlip is politely agreeable, and 
listens.) 



ACT II SCORN OF WOMEN 109 

All is discovered. 

{He starts.) 
Your actions have betrayed you. 

Vanderlip 
Who are you? 

LORAINE 

Never mind who I am. I know. 

{Takes his hand and looks at palm.) 
You are about to make a long journey. 

{He starts.) 
I see a water-hole. 

{He starts.) 
I hear a clock strike twelve. 

{He starts.) 
She is a dark woman, a foreigner. 

{He starts.) 
And her name is — 

{In natural voice ^ laughing.) 
Loraine. 

Vanderlip 

{With relief in voice.) 
You fooled me all right, Loraine. You said 
you weren't coming to the ball. 



no SCORN OF WOMEN act ii 

LORAINE 

I didn't intend to, but everything was packed 
and ready for the start, and I had nothing to do. 
So I came. 

(A pause.) 
Floyd, don't you think you've been dancing with 
that Mrs. Eppingwell rather frequently? 

Vanderlip 
No, I don't. 

LORAINE 

You've danced every dance with her. 

Vanderlip 
Somebody else is dancing with her now, 

LORAINE 

And, in consequence, you are not dancing at all. 

Vanderlip 

{Making movement to take her into ball- 
room.) 
Come, then, let us dance it together, 

LORAINE 

[Pouting.) 
No. 



ACT n SCORN OF WOMEN III 

Vanderlip 

{Persuasively.) 
Aw, come on. 

LORAINE 

No. 

Vanderlip 

All right, then, don't. 

{He stands stolid and silent.) 

LORAINE 

{After a pause, softly, hesitatingly, tears in 

voice, etc.) 
Floyd — I — 

{Breaks down and weeps in feminine way.) 
(Vanderlip is soft as mush at once. His 

arm is around her, and she is drawn close 

to him.) 

Vanderlip 
There, there, dear. You know I love you. 

Loraine 

{Still weeping.) 
I — I am jealous, Floyd. I know it, but I can't 
help it. You are a man to touch women's hearts. 
They can't help loving you, and — and — 



112 SCORN OF WOMEN 



Vanderlip 



(Showing that he is secretly pleased.) 
Oh, pshaw. Anyway, you are the one woman, 
or I wouldn't be taking you down river to-night. 
(Prince has gone to left and is looking into 
ballroom, so they are unobserved.) 

LORAINE 

(Recovering.) 
Yes, yes, I know. Forgive me. And now I 
must be going. 

(They move to rear to street door. He helps 
her on with moccasins and street wraps.) 
Aren't you coming, too ? 

Vanderlip 

(Opening door for her.) 
No, not yet. But I'll be on time. 

(She glances at Prince's back, lifts mask, 

and raises face for kiss. He bends and 

kisses her.) 

LORAINE 

At the water-hole. 

Vanderlip 
At twelve sharp. 



ACT II SCORN OF WOMEN II3 

{She kisses him again, clings to him, and 

goes out.) 
{At sound of door shutting. Prince turns 

around, then returns to street door.) 

Prince 
Hello ! 

Vanderlip 

Hello. How d'ye like the job? 

Prince 

I wouldn't undertake it again for all the gold 
in Klondike. 

Vanderlip 

Losing all your friends, eh ? 

Prince 

Half of them. They will butt in, and I have to 
turn them away. Oh, it's hospitality, you bet. 
I've been with them on trail, I've eaten their food 
and slept in their blankets, and now I turn them 
away from the merrymaking of myself and my 
friends. 

{A knock is heard at door.) 
There's one, now. 

{Opens door.) 
No, it's only Sitka Charley. 



114 SCORN OF WOMEN act ii 

{Enter Sitka Charley, ivho draws Vanderlip 
to one side.) 

Sitka Charley 

You come ? 

Vanderlip 

No, I tell you. No. 

Sitka Charley 

No come? 

Vanderlip 

{Explosively.) 
NO! 

Sitka Charley 

Then um Freda come. She say, you no come, 
she come. Sure. 

Vanderlip 

Come here? 

{He shakes his head and laughs incredu- 
lously.) 
Not on your life. 

Sitka Charley 

{Starting toward street door.) 
No come? 



act ii scorn of women 1 15 

Vanderlip 

{Explosively.) 

NO! 

{Exit Sitka Charley.) 

(Vanderlip goes to rear, takes off domino, 
disclosing himself as a cowboy. Hangs 
domino on wall. Takes down from wall 
a sombrero, which he puts on head. 
Makes exit to left.) 

(Prince, 7vJio is now alone, walks over to 
stove at left, adjusts damper, and warms 
his hands.) 

{The street door is cautiously opened, with- 
out knocking, and Sitka Charley puts 
head inside and peers around. With- 
draws head.) 

{Street door is again cautiously opened, this time 
the masked face of a woman appearing, and then 
Freda, in long cloak, enters. She removes 
street moccasins, revealing dancing slippers on 
her feet, and puts moccasins under bench close 
to door. She removes cloak, and reveals herself 
in a striking evening gown. As she turns her 
back to hang cloak on wall. Prince happens to 
see her. She starts toward ballroom, but he 
steps in her way and stops her.) 



Il6 SCORN OF WOMEN act ii 

Prince 

I beg your pardon. 

(She waits silently.) 
I am the doorkeeper, you know. 

(A pause.) 
The instructions are that all masks must be lifted 
at the door. 

{Still silence on part of Freda. The 
situation is awkward for Prince, and he 
begins again.) 
I don't know who you are, but the rules are im- 
perative. I must see your face. 

{Steps forward and lifts his hand to raise 
mask.) 

Freda 

{Quickly stepping hack and speaking in a 
slightly muffled voice.) 
You will be sorry if you see my face. 

Prince 

I have been made sorry by more than one face 
I've seen to-night and turned away from the door. 

Freda 

But in my case you will be sorry for quite a dif- 
ferent reason. 



act n scorn of women i17 

Prince 

{Curiously.) 
For what reason, then, pray? 

Freda 

Because, after seeing my face, you will not turn 
me away. 

Prince 

{With certitude.) 
Then there will be no reason for me to turn you 
away. 

Freda 

On the contrary, all the reason in the world. 
But you won't. 

(Prince laughs incredulously. Mrs. Mc- 
Fee appears in doorway to left, looks 
suspiciously at them, and disappears.) 
So it will be better, Stanley, if you let me in 
without seeing my face. 

Prince 

{Starting at her use of his given name.) 
You know me ! — er — well ! 



Il8 SCORN OF WOMEN act ii 

Freda 

And you know me well. Now let me pass. 
Some day I will tell you about it, my reason for 
coming here, and you will be glad. 

{She starts as though to go to the ballroom.) 

Prince 

{Springing in her way and seizing her arm,) 
No you don't, my lady ! Enough fooling. Let 
me see your face. 

Freda 

There have been times when you treated me less 
roughly. For the sake of those times, let me pass. 

Prince 

{Still retaining hold on her arm, and after 
hesitating for a moment.) 
No, it's a bluff you're running on me. I don't 
know who you are, but I'm going to find out. 
{He lifts free hand toward her mask.) 

Freda 

You will be sorry. 
{He hesitates.) 
Be in ignorance of me, and let me pass. It will be 
better so. 



ACT II SCORN OF WOMEN Iig 

Prince 

If you have no right, I'll not let you pass anyway. 
Now let me see you. 

{Still holding her by one arm, he tries to 

lift mask.) 
(Mrs. McFee appears in doorway to left 
and watches suspiciously.) 

(Sitka Charley knocks and then enters through 
street door, Prince giving a quick glance in his 
direction and ascertaining that it is all right 
for him to enter.) 

Freda 

(In natural voice.) 
Stanley ! 

Prince 

(Releasing her and speaking with awe.) 
No ! Not you ! 

(Freda lifts her mask, her back to Mrs. 
McFee, and for several seconds, her face 
serious with resolve, her eyes flashing, 
she gazes upon him. She lowers mask, 
and makes as though to start toward 
door to left. He hesitates, stands aside, 
then hesitates again.) 
It is all my social standing in Dawson is worth, 
to — to let you pass. 



120 SCORN OF WOMEN act ii 

Freda 

{Mockingly.) 
I told you you would be sorry. 

{Seriously.) 
There is Sitka Charley. I want to speak to him. 
And there's that psalm-singer in the doorway. 
Don't let her suspect me. 

Prince 
I shall resign my post. 

Freda 

Resign ? You will be of more help to me if you 
retain it. 

Prince 

I have been unfaithful to it. Pass, Freda, 
pass. Who am I to say you nay ? 

{He leaves her and returns to street door. 
Freda goes over to Sitka Charley. 
Mrs. McFee disappears from doorway, 
but reappears one or two times to stare 
suspiciously.) 

Freda 

How is Vanderlip dressed ? What does he look 

like? 



ACT u SCORN OF WOMEN 121 

Sitka Charley 

Um all the same long black dress, like um 
woman. 

Freda 

Dressed as a woman ! 

Sitka Charley 

(Shaking his head.) 
No dress woman. Um like — um — um — 
like um priest man. 

(Makes motion 0} hand around head to 
describe hood 0} domino, and motion 
down to his feet to describe length 0} 
domino.) 
Um long black, like priest man. 

(A domino, with lady on arm, appears in 
doorway, as though about to enter, then 
changing mind, disappears.) 
Look see ! Just like that. That um VanderHp. 

Freda 

All right, Charley. I understand. And now 
for you. Flossie can't get here too quickly. You 
must take dogs, fresh dogs, up the trail, and when 
you meet her, put her on your sled, and race in 
with her as fast as you can. Tell her Vanderlip 
sent you and is waiting for her. 



122 SCORN OF WOMEN act ii 

Sitka Charley 

{Dubiously.) 
Um dogs, fresh dogs, have not got. 

Freda 
Take my dogs. You know them. 

Sitka Charley 

{Enthusiastically.) 
Um best dogs in Klondike. Sure. 

Freda 

And bring Flossie straight to my cabin. Don't 
stop anywhere else for anything. Right up to 
the door and in with her. Understand ? 

Sitka Charley 
Um Vanderlip there? 

Freda 

Yes, Vanderhp will be there waiting for her. 

{Starts him toward street door.) 
Now hurry. 

{Exit Sitka Charley.) 

{To Prince, who is standing forlornly at 
his post.) 



ACT II SCORN OF WOMEN 1 23 

I'm sorry, Stanley, but I had to do this thing. 
Now I want to find Floyd Vanderlip. 

Prince 

You'll find him in the ballroom. Black dom- 
ino — you know his height. 

Freda 

{Resting one hand on his arm and laughing 
cheerily.) 
There, there, don't look so glum. All is not 
lost. Nobody will know me, and I'll be gone in 
five minutes. 

(Mrs. McFee appears in doorway to 

left. Looks at them standing together.) 

(Freda crosses to left and goes out, Mrs. 

McFee standing aside and looking at 

her closely.) 

(Mrs. McFee crosses to Prince.) 

Mrs. McFee 
Who might that woman be, Mr. Prince ? 

Prince 

(Coldly.) 
The doorkeeper's lips are sealed. Those were 
my instructions. The doorkeeper can disclose 
identities to nobody. 



124 SCORN OF WOMEN act ii 

Mrs. McFee 
But to me — 

Prince 

{Interrupting icily.) 
To nobody. You are made no exception, Mrs. 
McFee. And furthermore, I'm going to resign. 

Mrs. McFee 
Resign ! 

Prince 

And right now. And whoever takes my place — 
you'd better put a mask on him, or he'll lose all 
his friends as I have. 

Mrs. McFee 

{Insinuatingly . ) 
Your friends, the kind of men and women you 
turned from this door? 

Prince 

{Angrily.) 
Yes, my friends, men and women, children of 
sin, lost, hopeless wretches, — my friends. 

Mrs. McFee 

{Sniffing and tossing her head, and very 
frigidly.) 
I believe it is just as well, Mr. Prince. I had my 



ACT 11 SCORN OF WOMEN 1 25 

doots of you all along. There is no telling what 
base creatures you have admitted. I shall get an 
honorable man to guard the door. I shall inform 
the committee — 

Prince 

{Interrupting.) 
Get him ! Get him ! Go get him ! You can't 
be any too quick for me ! 

Mrs. McFee 

{Beginning angrily.) 
You are a shame and a disgrace, and when I 
bring your conduct before the committee — 

Prince 

{Interrupting.) 
If you don't go right away and get some one to 
take my place, I'll throw open the door and call 
in the scum of the town. 

{Makes a motion to open door.) 

Mrs. McFee 

{Aghast, throwing up arms.) 
No ! No ! Dinna be rash ! 

{She hastens away into ballroom.) 



126 SCORN OF WOMEN ACT ii 

{Several couples have entered from ballroom 
and are promenading, among them Capt. 
Eppingwell, hy himself, in domino.) 
[Enter Sitka Charley through street door, look- 
ing for some one. He mistakes Capt. Epping- 
well for Vanderlip.) 

Sitka Charley 

Hello, Vanderlip. You no come Freda's cabin 
you catch um hell, sure. 

Capt. Eppingwell 

{Starting, and in disguised voice.) 
Hello. What's Freda want with me. 

Sitka Charley 

{Recognizing that it is not Vanderlip's 
voice, and surprised.) 
You no VanderHp? 

Capt. Eppingwell 

{Imitating Sitka Charley's voice.) 
No. Me Sitka Charley. 

Sitka Charley 
What for, crazjnnans? Me Sitka Charley. 



act ii scorn of women 12 7 

Capt, Eppingwell 
Me Sitka Charley. 

Sitka Charley 
No, me. 

Capt. Eppingwell 

No, me. 

{He suddenly takes off domino, disclosing 
himself in make-up of Sitka Charley. 
Sitka Charley gazes at him dumb- 
founded. Rubs his eyes.) 
You buy um dogs, good dogs, I sell. 

Sitka Charley 

You me. Who me? 
(Riibs his eyes.) 
What for? Everybody crazy. Me crazy too. 

Capt. Eppingwell 

(Struck by an idea, he puts on domino 
again, and drags Sitka Charley by 
arm to back of room.) 
Come on, we'll have some fun. 

{Feels in pocket of overcoat hanging on wall 
and brings out a mask, which he puts on 
Sitka Charley.) 
Now for fun ! 



128 SCORN OF WOMEN act ii 

(Capt. Eppingwell takes Sitka Charley 
to left, thrusts him into ballroom, and 
remains in doorway, watching.) 

{Enter Freda. Capt. Eppingwell stands aside 
for her to pass. But she stops and measures 
his height and build with her eye.) 

Freda 
(Softly.) 
At last I've found you, Floyd. 

Capt. Eppingwell 

I like that, guessing me the first time. And 
who are you? 

Freda 
(Surprised.) 
Oh ! It was a mistake. 

(Starts to leave him, but he follows her, 
detaining her.) 

Capt. Eppingwell 

Not so fast, fair lady. I've an idea you'll 
dance — 

(Looks at his dance-card.) 
— the next quadrille, let us say. 

Freda 
I think it's engaged. I've lost my programme. 



ACT n SCORN OF WOMEN 1 29 

Capt. Eppingwell 

(Putting hand inside domino and bringing 
forth a programme.) 
I have a spare one. Allow me. 
(He writes on card.) 

(Enter Sitka Charley from left, running away 
from Clown, who is striking him on back with 
bladder. 

Freda 

Thank you. The next quadrille then. 
(Looking at Sitka Charley.) 
There is somebody I wish to speak to. Good-by. 

Capt. Eppingwell 

(Standing aside.) 
Good-by. 
(Mrs. McFee enters from left with man, whom 
she takes to street door and who relieves Prince, 
who makes exit to left. 

(Freda joins in pursuit of Sitka Charley 

and drives Clown away.) 
(Mrs. McFee watches Freda and Sitka 
Charley.) 

Freda 
(Severely.) 
I thought you had started up the trail with the 
dogs long ago. Anything the matter? 



130 SCORN OF WOMEN act ii 

Sitka Charley 

Me come back speak to you. Me think, um 
Lisznayi woman wait at water-hole, no VanderHp 
come, maybe she make much trouble. Much 
better Lisznayi woman go long way off. Maybe I 
think very good tell Lisznayi woman lie. Maybe 
say VanderHp meet her twenty mile down trail. 
One Indian man take her on sled twenty mile 
dowTi trail, then she sure make no trouble. 

Freda 

{Laughing.) 
A good idea. You hurry and fix it up, quick, 
and then start after Flossie. 

(Sitka Charley starts to go.) 
One moment, Charley. Ten miles do^vn river is 
Salmon Stake. One missionary man lives at 
Salmon Stake. Tell Indian man to take Lisznayi 
woman to missionary house and knock on door. 
Missionary man gets out of bed and lets them in. 
Indian man tells missionary man that Lisznayi 
woman come to see him, come to be good woman. 

(She laughs merrily.) 
Understand ? 

Sitka Charley 

(Laughing silently.) 
Very good. Dam good. All right. 



act ii scorn of women 131 

Freda 

(Turning to leave him.) 
And hurry as fast as you can. 

(Freda, looking over one after another of 
couples and groups, and watched sus- 
piciously by Mrs. McFee, continues 
search for Vanderlip and goes to left.) 

(Sitka Charley starts toward street door, 
but is interrupted by Mrs. McFee.) 

Mrs. McFee 
Who is that woman ? 

Sitka Charley 
Um crazy woman s maybe. 

Mrs. McFee 
But who is she ? 

Sitka Charley 

(Stirring the air with his hand to describe 
general mix-up.) 
Everybody somebody ; somebody nobody ;. no- 
body anybody. What for? Sitka Charley no 
Sitka Charley. Sitka Charley somebody else. 
Somebody else Sitka Charley. 



132 SCORN OF WOMEN act ii 

Mrs. McFee 

(With a sour smile of appreciation.) 
You do it very well. Allow me to congratulate 
you. 

Sitka Charley 

What for long words? Sitka Charley don't 
know long words. 

Mrs. McFee 
Oh, I know you, Captain Eppingwell. 

Sitka Charley 
Me no Captain Eppingwell. Me Sitka Charley. 

Mrs. McFee 

You do it excellently. Even I would be almost 
deceived, I assure you, Captain Eppingwell. 

Sitka Charley 
Me Captain Eppingwell? 

Mrs. McFee 
Of course you are. I knew you at once. 



act 11 scorn of women 133 

Sitka Charley 
Mrs. Eppingwell my squaw? 

Mrs. McFee 

Yes, and Mrs. Eppingwell is your wife. Now 
tell me who that woman was. 

Sitka Charley 

(After holding head in both hands.) 
Me no drink whiskey all day. Yet me all the 
same drunk. Me no me. Me Captain Ep- 
pingwell. Me have one fine squaw. Wow ! 
{Soberly, holding one hand to head and 
shaking head.) 
Sitka Charley much sick. Sitka Charley go home. 
{Starts for street door, but Mrs. McFee 
detains him.) 

Mrs. McFee 

No, no, Captain, you are coming with me to see 
how the supper is being laid, and you are going to 
tell me who that woman is. 

(Sitka Charley does not want to go, but, 
vainly protesting, is lugged off by Mrs. 
McFee through door to left.) 
(Capt. Eppingwell, who has lingered 



134 SCORN OF WOMEN act ir 

about, watches them go, and when gone 
he takes off domino, hangs same on wall, 
and discloses himself in make-up of 
Sitka Charley. He proceeds to put 
wood in stove to right.) 
(Freda enters from left and sees Capt. Eppingwell 

bending over woodbox. She crosses over to 

him in an angry, determined way.) 

Freda 

{Very severely.) 
Still here ! When I asked you to hurry ! 

(Capt. Eppingwell straightens up ab- 
ruptly.) 
Shame on you, Charley. Now go, as fast as you 
can. 

Capt. Eppingwell 

{Imitating Sitka Charley.) 
What for go? You buy dogs? I sell dogs, 
good dogs. 

Freda 

{With petulant dismay.) 
Oh ! You again ! 

Capt. Eppingwell 
Me Sitka Charley. 



ACT u SCORN OF WOMEN 135 

Freda 

You are the man in the domino. I might have 
known you were not Sitka Charley. You are 
taller. 

Capt. Eppingwell 

(Natural voice.) 
And in the domino you mistook me because of 
my height. 

(Freda starts.) 
Oh, I kn.ow. The man you seek is about my 
height, eh? 

Freda 
Who are you? 

Capt. Eppingwell 

Who are you? 

Freda 

You don't know me. I am a new arrival in 
Dawson. I came in over the ice. 

Capt. Eppingwell 

(With sudden conviction.) 
Now I have you ! I met you to-day. 



1^6 SCORN OF WOMEN act n 

Freda 

(Shaking head.) 
No, you didn't. 

Capt. Eppingwell 

Yes, I did. You are the Lisznayi — I beg par- 
don — Miss — er — Miss Lisznayi. 

Freda 

{Simulating surrender.) 
It's a shame to be found out so quickly. Mis- 
ter — ? Mister — ? 

Capt. Eppingwell 

Mr. Sitka Charley. 

Freda 

Well, then, Mr. Sitka Charley, I am displeased 
with you. You are too cunning. I am really 
vexed, and for punishment I am going to leave 

you. 

{She curtsies deeply, and walks away 

toward left.) 

Capt. Eppingwell 
{To himself, as he watches her.) 



ACT II SCORN OF WOMEN 137 

That voice. That walk ! That carriage ! 
{Scratches head, then suddenly.) 
Fooled ! Fooled ! That's not the Lisznayi I 
{He springs after her.) 
{A voice, off stage, is heard calling, " Take 
partners for a quadrille !'') 
I beg pardon, but this dance is ours. 

Freda 

{Drawing watch and looking at it.) 
Yes, it is, but really, I must beg off. I — I 
don't hke quadrilles. 

{Looks at dance-card.) 
There's a waltz two dances down. I'll give you 
that. 

{A man, in costume, appears in doorway to 
left, and shouts: ^^One more couple 
needed 1 Here, you 1 One more couple ! ' ' 

Capt. Eppingwell 

{Offering his arm.) 
There ! We're needed. 

{Man in doorway, who has turned around 
and surveyed ballroom, turns hack and 
calls: '^Too late! Sets are full T' 
Opening bars of dance are heard.) 



138 SCORN OF WOMEN act ii 

Capt. Eppingwell 

(Seizing Freda in his arms and starting to 
waltz.) 
We'll make a waltz of it here. 

{They waltz a jew steps, Freda abandoning 
herself to it, when she suddenly stops 
and withdraws herself from his arms.) 

Freda 

Please let me go. You may have that waltz 
later. 

(She looks at watch and betrays her need 
for haste.) 

Capt. Eppingwell 

(Very deliberately.) 
There is something famihar about you. I have 
seen you before. I have danced with you before. 
And — well, I have never danced with the Lisz- 
nayi. 

Freda 
No, you don't know me. 

Capt. Eppingwell 
Let me tell you the occasion. 



ACT n SCORN OF WOMEN 139 

Freda 

(Very restless and desiring to go.) 
There has been no occasion. 

Capt. Eppingwell 

(Firmly,) 
Nevertheless, let me tell you. It may interest 
you. 

(Makes appropriate gestures.) 
Here was the stove, here the piano. Three- 
fingered Jack played the fiddle. It was Old Dan 
Tucker that we danced. Remember? 

(She shakes her head.) 
There was the doorway to the front, always open. 
Through it came the clatter of chips, the rattle of 
roulette balls, the calls of the gamekeepers. And 
there was the rear door. It opened upon the 
street. When it opened the frost came through, 
in a cloud of vapor, rolling along the floor and 
hiding the feet and legs of the dancers to the knees. 
And we danced, you and I, we danced Old Dan 
Tucker. 

Freda 

(Innocently.) 
How interesting ! Tell me, that — that what 
you described, it is a — a dance-hall ? Am I 
right ? 



I40 SCORN OF WOMEN act ii 

Capt. Eppingwell 

(With firm conviction.) 
I remember when you came in through the 
door. The frost rolled in with you, and you 
wore the most magnificent furs in all the Klon- 
dike. And you danced in moccasins, in httle 
red moccasins. Remember? 

Freda 

(Still innocently.) 
Ah, those furs ! Is there a woman in the land 
who has not heard of them and envied their 
possessor, this woman you take me for — and 
I know who you mean — this — this dance-hall 
artist, this — this Freda Moloof. And how often 
have you danced with her ? — with me, I mean, 

Capt, Eppingwell 

(Shaken for the moment.) 
Once. That one night. But I have seen her 
several times. Who has not? 

Freda 
Her? Me, you mean. 

Capt. Eppingwell 

(With renewed and emphatic conviction.) 



ACT II SCORN OF WOMEN 14I 

Yes, and one other thing. That accent ! 

{Gripping her by the arm.) 
Freda, it is you ! 

Freda 

At last I am discovered. Confess, sir, it took 
you some time. 

Capt. Eppingwell 

I do confess you puzzled me not a httle. But 
what are you doing here ? It's daring, to say the 
least. 

Freda 

{Nonchalantly.) 

Oh, I was weary for a change. I was yawning 

my head off. So I thought I'd come up and see 

if you and your select friends danced Old Dan 

Tucker as well as we danced it that — that night. 

Capt. Eppingwell 
But if you are discovered ? 

Freda 
Only you could discover me. 

Capt. Eppingwell 
(With due hesitancy.) 



142 SCORN OF WOMEN act ii 

There is trouble brewing, Freda. Frankly, I 
believe it would be better for you to go. 

(Freda laughs long, a mocking, silvery 
laughter, which perplexes and bewilders 
him.) 
Come, come. What's the matter? 
(Freda continues to laugh.) 
What's struck you so funny? 

Freda 

{Quieting down, hut holding hand to side.) 
It is better than I dreamed. 

Capt. Eppingwell 

What is better? 

Freda 
My make-up. 

Capt. Eppingwell 

{In doubt.) 
Make-up ? 

Freda 
The make-up under my make-up, if you please. 

Capt. Eppingwell 

(With a faint glimmer of conviction this 
time.) 
But the accent ! You can't get away from it. 



act ii scorn of women 143 

Freda 

Far be it from me to get away from it. On the 
contrary, I sought after it, and I flatter myself 
that I got it pretty close to the original. I'd like 
to meet this Freda. I'll wager my accent is 
nearer hers than her own is. 

Capt. Eppingwell 

{Completely beaten, slowly.) 
Then who the deuce are you? Where could 
you have learned that accent? 

Freda 

{As one will tell a story.) 
Why, I was caught in a storm over on Indian 
River. We were compelled to seek shelter in a 
httle cabin, and whom should we find there, 
likewise driven in by the storm, but this Freda 
Moloof. There was no standing on ceremony 
nor conventionality. It was life or death, and in I 
went. We were storm-bound two days. And 
she was very kind to me. 

{A pause, then, voice tender and sympa- 
thetic.) 
I felt so sorry for her. 

{A pause.) 



144 SCORN OF WOMEN act ii 

Capt. Eppingwell 

{Impatiently.) 
Well? 

Freda 

Well, I studied her, that is all. 

Capt. Eppingwell 

( Triumphantly.) 
Now I have you ! You are the woman re- 
porter of the Kansas City Star ! 

Freda 

{Mockingly.) 
Think so? Think so? 

{She laughs.) 
Now I am really going to leave you. I must. 
But don't forget that waltz. 

{She walks away and makes exit to left.) 

Capt. Eppingwell 

{In utter bewilderment, watching her till 

she disappears.) 
Well, I'll be damned. 

{He puts on domino and follows after her, 

still intent on discovering her identity, 

and makes exit to left.) 



ACT II SCORN OF WOMEN 145 

{The quadrille is over, and as he passes 
out, couples begin to enter from left.) 

(Mrs. McFee and Sitka Charley enter from 
left. She still holds him captive, hanging on 
his arm.) 

Mrs. McFee 

{Ingratiatingly, making as near a simper 
as her sour mouth and age will permit.) 
You might have asked me to dance, Captain. 

Sitka Charley 

{Rolling his head.) 
Me no dance. Me much sick. Me crazy. Me 
drunk. Me go home. 

{Strives to get to street door, but she clings 
to his arm and holds him back.) 

Mrs. McFee 

Dinna you think by now, Captain, that you've 
convinced me what a fine actor you are ? 

Sitka Charley 

{Striving for street door, but being held back, 
in final break-down of patience.) 
What for, dam fool woman you? 



146 SCORN OF WOMEN act ii 

Mrs. McFee 

{Dropping his arm and recoiling.) 
Oh! 

Sitka Charley 

(In a rage, dancing about.) 
Crazy ! Fool ! Dam ! What for ? 

Mrs. McFee 

Oh ! Oh ! And I thought you were a gentle- 
man ! You have insulted me ! 

Sitka Charley 

{Raging.) 
Sure! Me insult. Much insult. Dam! Dam! 
Dam! 

Mrs. McFee 

Oh ! This cannot be Captain Eppingwell. 
'Tis some base creature from the town. I am con- 
tameenated ! 

{Sticks -fingers in ears and screams shrilly.) 

{Many come running from ballroom at 

sound 0} screams. Sitka Charley still 

rages, shouting, ^^Dam ! Dam I Dam .' ") 

(Capt. Eppingwell comes in with some lady on 
arm and joins an onlooking group near stove 
to right. He still wears domino.) 



act ii scorn of women 147 

Mrs. McFee 

{To onlookers.) 
This vile creature has insulted me. Where is 
the doorkeeper? 

{Turns and beckons Doorkeeper.) 
Come you, Mr. McFarline, and eject this beast. 

(Doorkeeper starts forward. Clown 
startles Sitka Charley by unexpect- 
edly hitting him a resounding blow with 
bladder between the shoulders. Sitka 
Charley runs in and out amongst 
people, pursued by Doorkeeper and 
Clown. The Doorkeeper is slow and 
ponderous, and jails down. At the mo- 
ment he jails, Sitka Charley dashes 
into group where stands Capt. Epping- 
WELL, whom he strips, with one rush, oj 
domino. Sitka Charley swijily puts 
domino on himselj and dashes on, still 
pursued by Clown, who is striking him 
with bladder. Both make exit to lejt.) 

(Doorkeeper, getting up, mistakes Capt. 
Eppingwell jor Sitka Charley, and 
proceeds to eject him. Capt. Epping- 
well resists. Mrs. McFee urges on 
the Doorkeeper. In struggle, Capt. 
Eppingwell's mask comes off. Door- 
keeper, in amazement, lets go oj him. 



148 SCORN OF WOMEN act ii 

Capt. Eppingwell is angry, Mrs. 
McFee dumjounded, everybody excited. 
— Tableau.) 

(Sitka Charley dashes in from left, pursued by 
Clown. Sitka Charley races madly across 
stage, like a dog with a tin can to its tail, and 
jerks open street door. Doorkeeper tries to 
stop him, clutches domino, but Sitka Charley 
plunges through and slams door after him, 
leaving domino in hands of Doorkeeper, who 
is nonplussed for a moment, then walks over and 
presents it to Capt. Eppingwell.) 

{Excitement quiets down. Groups break 
up and begin to pass off stage to left.) 

(Capt. Eppingwell, having lingered in 
order to recover his breath, goes to left 
rear and hangs up domino on wall.) 

(Vanderlip, in costume of cowboy, and 
Mrs. Eppingwell are standing talking 
by stove to right front.) 

(Freda enters alone from left and looks about. 
Recognizes Capt. Eppingwell and goes up to 
him.) 

Capt. Eppingwell 

(Gallantly.) 
Ah, mysterious fair one ! 



ACT II SCORN OF WOMEN 149 

Freda 
{Lightly.) 
Surely you have guessed me by now. 

Capt. Eppingwell 

{Shaking head sadly.) 
I was never so befooled in my life, I could 
swear I know you, but to save me I can't put my 
finger on you. 

Freda 

You may if you wish. 

Capt. Eppingwell 

{Surprised.) 
What? 

Freda 

{Seriously.) 
I say you may know me if you wish. 

Capt. Eppingwell 

{Eagerly.) 
How? — When? 

Freda 
Now. 

{He eagerly makes to lift mask and learn 



150 SCORN OF WOMEN act ii 

her identity. She steps hack quickly, 
with one hand holding him off.) 
No, no; there are certain stipulations. 

Capt. Eppingwell 

(Displaying in advance a willingness to 
consent.) 
Yes, yes. 

Freda 

(Deliberately.) 
First, you must ask no questions. 
(He nods head.) 
Second, you must tell nobody. 

(He nods.) 
And third, you must point out to me Floyd Van- 
derlip. 

Capt. Eppingwell 

(Nodding head.) 
I agree. Now who are you ? 

Freda 

(Laughing.) 
But you haven't pointed out Floyd Vanderlip. 

Capt. Eppingwell 

(Briskly, indicating with his head.) 
There he is. 



ACT n SCORN OF WOMEN 15 1 

Freda 
{Looking.) 
And with whom is he talking? 

Capt. Eppingwell 

{Starting as though to answer, then chang- 
ing his mind,) 
That was not in the bond. Now who are you? 

Freda 

{Mockingly.) 
Guess. 

Capt. Eppingwell 

I call that cruel. I've exhausted my guesses. 

(Freda lijls mask and gazes at him for 

several seconds, her jace serious, her eyes 
flashing.) 

Capt. Eppingwell 

{Giving a long whistle of comprehension.) 
Freda ! 

Freda 

Even so, Freda. And I thank you. And I 
shall have yet more to thank you for. That 
waltz — you must let me off. 



152 SCORN OF WOMEN act u 

Capt. Eppingwell 
There is no reason. Let me have it. 

Freda 

Impossible. I shall be gone. 
{Looks at watch.) 
Why, it is half-past eleven ! I am going now, in a 
minute. 

Capt. Eppingwell 

With Vanderhp? 

Freda 
With Vanderlip. 

Capt. Eppingwell 

{Earnestly.) 
Freda, do you know all the circumstances of 
this — er — affair ? Do you know what you are 
doing ? 

Freda 
{Lightly.) 
You are asking questions, sir. It is not in the 
bond. 

Capt. Eppingwell 

{Giving in.) 
Right. I beg your pardon. 



ACT II SCORN OF WOMEN 153 

(A knock is heard at street door. Doorkeeper 
opens. Enter messenger, an Indian, in parka 
and trail costume. He appears tired. He 
looks about hesitatingly, dazzled by the lights.) 



Capt. Eppingwell 

(Recognizing messenger, to Freda.) 
Pardon me, please, a moment. I must speak 
to that man. 

{Walks over to Indian.) 
How soon she come? 



Indian 

Come soon. Much dogs. Come fast. One 
hour maybe. Maybe half-hour. 

Capt. Eppingwell 

All right. Come along. 

(Walks to Mrs. Eppingwell and Vander- 

LiP at stove at right front, Indian at his 

heels.) 

Here's that man I told you of, Maud. You 

had better speak with him — I beg your 

pardon, VanderKp. 



154 SCORN OF WOMEN act ii 

Vanderlip 

{Jovially.) 
That's all right. Business is business. 

Mrs. Eppingwell 

{Sweetly.) 
Oh, Mr. Vanderlip, I left my programme on the 
piano, and I really don't know with whom I have 
the next dance. Please. 

{She steps aside with Indian to talk.) 

(Vanderlip starts toward exit to left.) 
(Capt. Eppingwell starts to rejoin Freda.) 
(Freda starts to cut off Vanderlip, crossing 
Capt. Eppingwell.) 

Capt. Eppingwell 

{Softly.) 
Oh, Freda ! That waltz. 

Freda 

One moment, please. 

{Passes on to Vanderlip.) 
(Capt. Eppingwell stands gazing.) 
{A dance has finished, and couples begin to 
stray in.) 



ACT II SCORN OF WOMEN 1 55 

(Clown and a lady accost Capt. Epping- 
WELL, and the three move along together.) 

(Mrs. McFee enters. As she passes by, she looks 
hard and suspiciously at Freda.) 

Freda 
Come with me, Floyd. I want you now. 

Vanderlip 

(With mock politeness.) 
And who are you, may I ask? 

Freda 
Freda. 

Vanderlip 

(Beginning explosively.) 
What the — 

(Then breaking down.) 
My God, Freda, what have you come here for? 

Freda 
For you. 

Vanderlip 

(Hesitatingly.) 
I don't understand. You are nothing to me. 



156 SCORN OF WOMEN act ii 

Freda 

And never have been anything, remember that, 
Floyd. 

{Conveying the impression that she may he 
something to him in the immediate future.) 
But I want you now. 

Vanderlip 

And never will be anything, I assure you. 
(Getting back his courage.) 
Faugh ! What have you come here for, anyway ? 

Freda 

For you. And, moreover, you are going to come 
with me. You are going to let me take your arm, 
and you see that door there — you are going to 
take me out through it. 

Vanderlip 

(Bellicosely.) 
I see myself doing it. 

Freda 
Yes, and I see you going on to my cabin. 



ACT u SCORN OF WOMEN 1 57 

Vanderlip 

{Interested, curiously.) 
To your cabin ? 

Freda 

Yes, to my cabin. I want to talk with you. 

Vanderlip 
Tiiis is a good place right here. Talk away. 

Freda 

No, you must come with me. 

Vanderlip 

{Ohstinately.) 
Not on your life, Freda. Right here I stay. 

Freda 

You have seen a Httle of me, Floyd; but you 
have heard more of me. 

Vanderlip 

{Interrupting.) 
Oh, yes, I have heard that you play with men as 
a child plays with bubbles. It is a saying in the 
country. Well, 



158 SCORN OF WOMEN act n 

{Planting himself firmly.) 
I am no bubble. 

Freda 

{Quietly.) 
What time is it, Floyd ? 

Vanderlip 

{Looking at watch, startled.) 
Twenty-five to twelve ! Gee ! I've got to get 
out of this ! 

{Makes a hasty movement, as though to 
start toward street door. Freda takes 
his arm.) 
What's this? 

Freda 

Nothing. Come along. I am in a hurry. 

Vanderlip 

Now look here, Freda, I'm not going with you 
because you're making me. I've got to go any- 
way. I've got to be elsewhere, and pretty quick. 

Freda 

Oh, far from it. I never make anybody do 
anything. They just — do it. 



act ii scorn of women 1 59 

Vanderlip 

All right, I'll let you come with me, but only 
outside. I'm not going to your cabin. 

Freda 

That is for you to determine. Let us start. 
(Mrs. Eppingwell talks with Indian. 
Mrs. Eppingwell now and again glances 
anxiously at Freda and Vanderlip; 
Mrs. McFee is more siispicious than 
ever, her hands involuntarily clutching 
and unclutching as though with desire to 
spring upon Freda and held hack only 
by doubt.) 

Vanderlip 

(Absently.) 
I'll have to rush. Got to change my clothes — 

Freda 

(Interrupting.) 
Not for my cabin. Those clothes are good 
enough, 

Vanderlip 

(Angrily.) 
But I tell you I am not going to your cabin. 



l6o SCORN OF WOMEN ACT ii 

Fkeda 

Oh, well, never mind. The first thing is to 
get out of here. After that we'll see. 

Vanderlip 

(Defiantly.) 
You bet we'll see. 

(They start toward street door, Freda on 
his arm.) 

Mrs. Eppingwell 

(Hurriedly, to Capt. Eppingwell.) 
Who is that woman? 

Capt. Eppingwell 

(Awkwardly.) 
How should I know? 

Mrs. Eppingwell 

(Reproachfully, and hurriedly.) 
Archie ! I saw her Hft her mask to you a 
moment ago. 

Capt. Eppingwell 

I can't tell — I — she — 

(Mrs. Eppingwell does not listen fur- 



ACT II SCORN OF WOMEN l6l 

ther, hut hastens to cut off Freda arid 
Vanderlip.) 

Freda 

{Seeing Mrs. Eppingwell approaching.) 
If anybody stops me, Floyd, I shall quarrel, I 
know. 

Vanderlip 

{Frightened.) 
For goodness' sake, don't make a scene. 

Freda 

Then get me out of here quick. Don't stop. 
{But Vanderlip stops when cut off hy 
Mrs. Eppingwell.) 

Mrs. Eppingwell 

I beg pardon. You are not going, Mr. Van- 
derlip ? 

Vanderlip 

(Awkwardly.) 
I — yes, I'm going. 

Mrs. Eppingwell 
But those dances? 



l62 SCORN OF WOMEN act ii 

Vanderlip 

(Hiding emharrassment behind hrusqueness .) 
I've suddenly recollected something. I'm in a 
hurry. Please excuse me, Mrs. Eppingwell. 
(Freda starts at mention 0} name,) 

Mrs. Eppingwell 

(Reproachfully.) 
And you promised to take me in to supper. 

Vanderlip 

Of course, of course. xA.nd I will. I'll come 
back. 

Mrs. Eppingwell 

I'd rather you didn't go — Floyd. The next 
dance 

(Looking at his card.) 
is ours. It will begin in a minute. 

(Vanderlip does not know what to say. 
Freda urges him to continue toward door 
by tugging privily on his arm. Also she 
glances apprehensively at Mrs. McFee, 
who, with a set expression on face, has 
drawn nearer.) 



act ii scorn of women 163 

Vanderlip 

{Hesitatingly.) 
Really, Mrs. Eppingwell, I — 

Freda 

{Interrupting, urging him by arm to start 

toward door.) 
We'll be late. We must go. 

(Vanderlip halj starts to go with her 

toward door.) 

Mrs. Eppingwell 

{To Freda.) 
I beg pardon, but you scarcely understand. 

Freda 

{Sharply, overwrought nervously.) 
It would be better, Mrs. Eppingwell, did your 
husband understand as well as I. 

(Mrs. Eppingwell is visibly hurt, and for 
the moment shocked into silence.) 

Vanderlip 

Now, look here, I'm not going to have any 
quarrelUng between you women. 



164 SCORN OF WOMEN act ii 

Mrs. Eppingwell 
{With sudden suspicion, ignoring Van- 

DERLIP.) 

Who are you ? 

Freda 
(Coldly.) 
One whose existence would scarcely interest 
you, Mrs. Eppingwell. 

Vanderlip 

(Whose efforts to make peace are ignored.) 
Oh, I say — 

(Mrs. McFee has drawn nearer. Every- 
body on stage is interested.) 

Mrs. Eppingwell 
I have the right to know. 

Freda 

(Scathingly.) 
As custodian of the community's morals? 

Mrs. Eppingwell 

And why not ? 



act ii scorn of women 165 

Freda 

{Mockingly.) 
. Ah, and why not ? 

Mrs. Eppingwell 

{With energy, but coolly and collectedly.) 
You have the advantage. You know who I 
am. Who are you? I demand to know. 

(Freda laughs lightly and mockingly.) 

Mrs. McFee 

{Entering group with a very determined air 
and pausing an instant.) 
We'll settle that, Mrs. Eppingwell. 

(Mrs. McFee suddenly springs upon 
Freda, tearing mask from face. Freda 
is startled and frightened. Vanderlip, 
the situation beyond him, stares help- 
lessly back and forth between Freda and 
Mrs. Eppingwell. Everybody on the 
stage stares at Freda, forming a wide 
and irregular circle of onlookers, who are 
too polite to crowd closer, but who, never- 
theless, cannot resist staring, one and all, 
from a distance.) 



l66 SCORN OF WOMEN 



Mrs. McFee 



{Sarcastically, shrilly.) 
Mrs. Eppingwell, it is with great pleasure I 
make you acquainted with Freda Moloof — Miss 
Freda Moloof, as I understand. 

(Mrs. Eppingwell makes a gesture to 
silence Mrs. McFee, who pauses for a 
moment.) 
Mayhap you dinna know the lady. Let me tell 
you — 

Vanderlip 

(Interrupting.) 
Now, here, I say, what's the good — 

Mrs. McFee 

(Interrupting, and withering him with a 
look.) 
Child of Perdition ! 
(She continues.) 
As I was saying, this woman's antecedents — a 
dancing girl, a destroyer of men's souls, a bold, 
brazen hussy, a servant of Satan, a — 

Mrs. Eppingwell 

(Interrupting.) 
That will do, Mrs. McFee. Will you please 
leave me to talk with her ? 



ACT 11 SCORN OF WOMEN 167 

(Mrs. McFee, still holding mask, snorts 
and withdraws a step jrom group.) 

Freda 

{Quickly, excitedly, eyes -flashing.) 
I do not want you to talk with me. What more 
can you say than that woman 

{Indicating Mrs. McFee, who snorts.) 
has said ? I want to go. Come on, Floyd. 

Mrs. Eppingwell 

{Gently.) 
I do not wish to be harsh. 

Freda 

{On verge of tears, yet dry-eyed and reso- 
lute.) 
Be anything but kind. That I will not bear. 

Mrs. Eppingwell 

{Beginning gently.) 
I — 

Freda 

{Interrupting, excitedly.) 
It is you that have the advantage now, hiding 



l68 SCORN OF WOMEN act ii 

behind that mask. Your face is clothed. I am 
as naked before you, 

{Glancing around masked circle and shrink- 
ing as a naked woman might shrink.) 
before all of you. 

Mrs. Eppingwell 
But you should not have come here. 

Freda 
I had reason to come. 

Mrs. Eppingwell 

An evil reason, I fear. However — 
{She calmly removes her own mask.) 
{For a long moment they regard each other 
with fixed gaze, Freda aggressive, 
meteoric, at hay; Mrs. Eppingwell 
calm-eyed, serene, dispassionate. Freda 
begins to soften.) 

Freda 
{Softly.) 
You are kind. 

Mrs. Eppingwell 
No ; it is merely fair play. 



act ii scorn of women 169 

Mrs. McFee 

{Bursting out wrathjully.) 
Why dinna you tell the hussy to go ? 

Mrs. Eppingwell 

{M aster jully.) 
Be quiet. 

Freda 

{Breaking down, seeming to droop for an 
instant, with one short, dry sob or catch 
in the throat.) 
Yes, I will go, Mrs. Eppingwell. 
{Turning to Vanderlip.) 
Will you come, Floyd ? 

(Vanderlip looks to Mrs. Eppingwell jor 
consent.) 

Mrs, Eppingwell 
Mr. VanderHp will stay. 

(Freda, broken down, beaten, but with no 
tears, no wringing of hands, nor cus- 
tomary signs of feminine weakness, with 
head up, mechanically resolute and de- 
fiant, ordinary carriage and speed of 
walk, goes toward street door. Silence. 
Everybody watches her. Doorkeeper 



1 70 SCORN OF WOMEN act ii 

does not assist her when she gropes 
blindly under bench for street moccasins.) 

(What is emphasized is her isolation. She 
is not one oj them, and they regard her 
as they would regard a strange animal 
which had strayed in out oj the night.) 

(She sits down on bench to put on street 
moccasins. Just as she lifts one foot 
to put on first moccasin, she pauses, 
thinks, then puts foot down again. She 
puts down inoccasins, stands up, pauses 
irresolutely a moment, then walks for- 
ward to Mrs. Eppingwell and Van- 

DERLIP.) 

Freda 
(Quietly.) 
Mrs. Eppingwell, pardon me, but I had for- 
gotten for the moment what I came for. 

Mrs. Eppingwell 

And that is — ? 

Freda 
Floyd Vanderlip. 

Vanderlip 

(Angrily.) 
Now look here, Freda, I tell you I won't stand 
for this. 

(Freda ignores him.) 



act ii scorn of women 171 

Mrs. Eppingwell 
I trust, Miss Moloof — 

Freda 

(Interrupting.) 
Call me Freda. 
(Bitterly.) 
Everybody calls me Freda. 

Mrs. Eppingwell 

Well, Freda, then. Have you thought what you 
are doing? It is an awkward thing to play with 
souls. What right have you? 

Freda 

(Laughing harshly.) 
Right? I have no rights. Only privileges. 

Mrs. Eppingwell 

(With touch 0} anger.) 
Licenses, I should say. 

(Mrs. McFee snorts and approaches.) 

Freda 
Thank you, licenses. I have licenses which 



172 SCORN OF WOMEN act ii 

you have not, for, you see, you are the wife of a 
captain. 

Mrs. Eppingwell 
What do you want with this man? 

Freda 

I might ask what you want with him? You 
have your husband. 

Mrs. Eppingwell 
And you? 

Freda 

(Wearily.) 
Men, just men. 

Mrs. Eppingwell 

(Anger growing.) 
You are all that has been said of you, a de- 
stroyer of men. 

Freda 

(Nodding her head in assent.) 
Come on, Floyd. I want you. And be warned 
by Mrs. Eppingwell, I want to destroy you. 

(Imperiously.) 
Come. 



ACT II SCORN OF WOMEN 1 73 

(Vanderlip has by now been reduced to 
the helplessness of a puppet. He makes 
to start.) 

Mrs. Eppingwell 

(Imperiously.) 
Floyd Vanderlip, you remain where you are. 
(He stops.) 

Freda 

(Almost whispering.) 
Come. 

(He makes to start.) 

Mrs. Eppingwell 

(Warningly, imperiously.) 
Floyd ! 

(He stops.) 

Mrs. McFee 

(To Vanderlip, witheringly, imitating 
his hesitancy by bobbing her body.) 
You weak and sinful creature, bobbing here, 
and bobbing there, like a chicken with its head 
cut off ! 



174 SCORN OF WOMEN act ii 

Vanderlip 

{Stirred to sudden flame 0} anger.) 
Once for all, Freda, I'm not going with you. 

Freda 

(Quietly.) 
What time is it, Floyd ? 

Vanderlip 

(Looking at watch, startled.) 
Quarter to twelve ! I must go, Mrs. Epping- 
well. Good-by. 

(He starts toward door at heels 0} Freda, 
who leads him by a couple 0} steps.) 

Mrs. Eppingwell 

Shame on you, Freda Moloof. 

(Freda glances back and seniles a hard 
smile.) 

Mrs. Eppingwell 

(Calling softly.) 
Floyd ! 

(Vanderlip hesitates. Freda turns her 
face, hlazingly imperious, upon him, and 
he slinks on after her. Dead silence.) 



act ii scorn of women 1 75 

Freda 

(When they reach door.) 
Help me on with my moccasins, Floyd. 

{He hesitates, with a last faint spark of 
rebellion. She looks at him, blazingly 
imperious.) 
There they are. 

(He is beaten. Stoops for moccasins. 
She sits down on bench. He puts moc- 
casins on her feet. They stand up. He 
helps her on with her cloak. While he 
is putting on his own moccasins and a 
big bearskin overcoat, she pulls hood 
of cloak over her head and covering 
her ears. Then she puts on her mittens. 
Then she waits for him. He puts on 
cap and mittens and opens street door.) 

Freda 
{Recollecting, and turning toward Mrs. 
McFee.) 
Go, get my mask. 

{He obeys, amid dead silence. Mrs. 
McFee mechanically surrenders mask 
to him. He returns. Opens door. 
Freda passes out. He follows.) 

CURTAIN 



ACT III 
FREDA MOLOOF'S CABIN 



ACT III 

Scene. Freda Moloofs cabin. It is eleven forty-five at 
night. The room is large, and luxuriously furnished. 
Its walls are of logs stuffed between with brown moss. 
Doors of rough, unstained pine boards, also window- 
frames and sashes. Street door to rear, in centre. On 
either side of door is an ordinary, small-paned window. 
To left of door a plain chair. On rear wall, near door, 
are wooden pegs, from which hang cloaks, wraps, furs, 
etc., also wisp-brooms for brushing snow from moc- 
casins. 
The luxury of furnishing is of the solid order. No gim- 
cracks, no bric-a-brac. Furniture is rough, made in 
the Klondike. Tables, chairs, etc., are unpolished; 
they are made from pine lumber, are unstained, rough, 
massive. There is no carpet. Bearskins, etc., litter 
the floor. Strange juxtaposition of rough pine fur- 
niture, costly rugs, etc. ; and, strangest of all, a grand 
piano. The cheapest and simplest and ugliest of kero- 
sene lamps are used for lighting purposes, also candles. 
On walls are magnificent moose-horns and other appro- 
priate trophies and weapons of the Northland {such as 
great ivory-headed spears and a pair of tusks of the 
mammoth) ; but there are no framed paintings. 
Midway between front and rear, and midway between 
centre and right, a large, wood-burning stove. Beside 
it a woodbox. On stove a tea-kettle is simmering. 
To left of stove, and near it, table, with table-cover on 
it, a few books and magazines, and a cheap kerosene 
lamp; around table several pine chairs. Between table 
and stove two easy chairs of rough pine, massive, 
thrown over with furs. On right, at front, against 

179 



J go SCORN OF WOMEN act hi 

wall a large, comfortable lounging-couch with many 
cushions. On left, at front, a grand piano. On piano 
a small, gilt French clock is ticking. 

The room is luxurious, comfortable, picturesque empha- 
sizing the contact of civilization and the wilderness. 
In short, it is the best possible living apartment that 
money can purchase in the Klondike. 

A MAi^is in easy chair, reading magazine and yawn- 
ing Ddor opens on right. Indian enters with arm- 
ful of firewood, which he carries to stove and dumps m 
woodbox He proceeds to put several sticks of wood 
into stove and to adjust damper. His entrance arouses 
Maid who looks up, yawns, lays magazine face-down 
on lap yawns again, at same time stretching arms be- 
hind head, and glances at clock. It is quite a dis- 
tance to clock. She rubs eyes and looks again. 



Maid 

Ten minutes to twelve. 
(Yawns.) 

Indian 

What time come? 

Maid 

(Shaking head.) 
I don't know. 
(Yawning.) 
I never know. 

Indian 

Me go to bed. 



ACT III SCORN OF WOMEN l8l 

Maid 
You'd better not. She said we were to stay up. 

Indian 

What for? Much trouble you think? What 
she do ? Where she go ? 

Maid 

(Yawning.) 
How should I know ? 

Indian 

Sitka Charley take dogs, Sitka Charley big 
hurry. What for? 

Maid 
(Listening.) 
There she comes now. 

(Maid rises to her feet, like a soldier com- 
ing to attention, hastily puts magazine 
on table, and brushes down front of skirt. 
Indian puts another stick of wood into 
stove and busies himself with raking 
ashes level in ash-box of stove.) 

(Street door opens. Freda e?iters, leading Van- 
derlip by the hand. Both are mittened and 
in same wraps, coats, etc., with which they left 
anteroom of Pioneer Hall.) 



l82 SCORN OF WOMEN act hi 

(Indian finishes with stove and goes out 
slowly to right. Maid goes to rear and 
helps Freda o]j with wraps, moccasins, 
etc.) 

(Vanderlip, who has come in reluctantly, 
does not remove mittens or cap, and 
stands sullenly inside the door, though he 
cannot forbear glancing curiously around.) 

Freda 

(Seeming in high spirits, while Maid is 
taking off her street moccasins.) 
And now for a toddy ! You've never tasted 
Minnie's. She makes them — 

{Holding tip hands.) 
oh, to the king's taste, and to a Klondike king's 
at that. 

Vanderlip 

(Brusquely.) 
Sorry. Won't have time. What did you want 
me for? 

Freda 

My ! There's the man of it ! 

(Imitating his voice and manner.) 
What did you want me for? 
(Natural voice.) 



ACT III SCORN OF WOMEN 183 

Can't let the poor woman catch her breath. 
Won't sit down for a moment in the warm. 

{Motions to Maid to help him off with his 
bearskin overcoat.) 
Must know what he's wanted for. Must know 
right away. Must go right away. Oh, my ! Oh, 
my! 

(Maid starts to help him off with overcoat. 
He jerks away from her.) 

Vanderlip 

{Sullenly.) 
What do you want to say to me ? Fire away. 

Freda 

{Laying hand on his arm.) 
Floyd — 

{Hesitating.) 
— dear Floyd. . . . You are big and strong. I 
know, too, that you are kind. Be kind now, just 
a little kind, a very little. I can't talk with you 
here, this way. It would be ridiculous. 

{Beginning to help him take off coat, in 
which operation his assistance is re- 
stricted to non-resistance.) 
Come and sit by the fire a moment. 

{Hands overcoat to Maid, who hangs it 
up on wall.) 



184 SCORN OF WOMEN act hi 

Just for a moment. 

{Untying ear-flaps, and removing his cap, 
which Maid hangs up. She pushes 
him on to chair and lifts one foot to re- 
move street moccasins.) 



Vanderlip 

(Helplessly expostulating.) 
Now here, I say — • 
(She persists.) 
I won't have a woman doing that for me. 

(Pushes her away and removes moccasins 
himself. He stands up.) 
I said I wasn't coming to your cabin, Freda; 
and I can't stay anyway — only for that one 
moment, that's all. 

Freda 

(Taking his hand and starting to lead him 
forward.) 
That is all I wanted, just the moment. And it 
is sweet of you to give it to me. 

(Vanderlip pauses and looks around room 
with interest. Freda pauses with him. 
Maid remains in rear, putting moccasins 
away, etc.) 



ACT in SCORN OF WOMEN 1 85 

Vanderlip 

(More genially, forgetting to be sullen.) 
I say, Freda, you're fixed comfortably. 

Freda 
Think so ? 

Vanderlip 

It's grand style, I must say. Nothing like it 
in the land. You're the only person that has 
three rooms. 

Freda 

Four — counting the kitchen. 

Vanderlip 
And my cabin is one room. 

Freda 
And you a millionnaire. 

Vanderlip 
But this is the Klondike — 

Freda 

(Laughing and interrupting.) 
Where even millionnaires 



1 86 SCORN OF WOMEN act hi 

{Imitating Dave Harney.) 
can't buy sweetenin' for their coffee an' mush. 
Dodgast the luck anyway. 

(Vanderlip laughs appreciatively. They 
start on again to front, but he sees piano 
and stops again.) 

Vanderlip 

If there ain't a piano ! It cost you a pretty 
penny, I'll bet. 

Freda 

{Leading him toward piano, half-singing, 
lightly.) 
" You cannot pack a Broadwood half a mile." 

{Looking at him.) 
Don't you know it? 

{He shakes head.) 
Don't know your Kipling ! 

{Sitting down at piano.) 
Here's the way it goes — 

{Plays and sings.) 



" You couldn't pack a Broadwood half a mile, 
You mustn't leave a fiddle in the damp, 
You couldn't raft an organ up the Nile 
And play it in an equatorial swamp " 



act iii scorn of women 187 

Vanderlip 

(Who had first gazed admiringly at her, 
then gazed curiously around until, by 
clock on piano, he sees what time it is, 
interrupting by bringing hand heavily 
down on keys 0} piano.) 
I can't wait another second. What do you want 
with me ? 

Freda 

(Ceasing the song, looking up quite calmly, 
and placing hand over face 0} clock.) 
I want you to stop looking at that clock. And 

(Rising, taking him by hand, and leading 
him toward stove.) 
I want you to come right over here and be good. 

(Turning to Maid.) 
Minnie. 

(Maid, who has been waiting in rear, comes 
forward and again waits.) 

(Freda pushes Vanderlip into easy chair 
near stove, runs to couch at right for 
cushion, which she puts behind his head, 
pressing his shoulders and head back 
upon it. She places fur-covered foot- 
stool under his feet. He has not relaxed 
himself, and in his stiff acceptance of 
comforts makes a ridiculous appearance.) 



SCORN OF WOMEN 



Freda 



{Giving cushion behind head a last pat.) 
And now you may smoke. 

(Maid goes out to right.) 

(Vanderlip rolls head back and forth on 
cushion. His hand searches for watch, 
which he draws forth from pocket. But 
before he can look at it Freda's hand 
covers the face of it.) 

Freda 

Oh my ! My ! What a busy man it is ! 

(Maid enters with cigar-box on tray. Vanderlip 
takes a cigar, and while he examines it critically 
Freda puts watch back in his pocket.) 

Vanderlip 

{Biting off end of cigar.) 
Real Havana. And you can't buy them for 
love nor money. How do you manage it ? 

Freda 

{Striking match and holding it up to him.) 
Oh, I just do. I could have offered you worse, 
I assure you. 

(Vanderlip puffs on cigar — long, slow, 
appreciative puffs. His face loses its 



ACT III SCORN OF WOMEN 1 89 

sullen expression. He sighs contentedly . 
He relaxes his body, sinks hack, and for 
the first tifne looks really comfortable.) 

Freda 

And now, Minnie, you have your reputation to 
live up to. 

Maid 

(Hesitating an instant.) 
The Scotch? 

(Freda nods head, and Maid goes out to 
right.) 

Vanderlip 

(Taking cigar from mouth and looking at 
it.) 
I say, Freda, you can make a fellow comfortable. 

Freda 
(Smiling.) 
Think so? 

Vanderlip 

(The sullenness returning into his face.) 
And you know how to make him uncomfort- 
able. 

Freda 
(Smiling.) 
Think so ? 



IQO 



SCORN OF WOMEN 



Vanderlip 



You are, by long odds, the most brutal woman 
I ever met. 

Freda 

{Incredulously and innocently aghast.) 
I? 

Vanderlip 

{Harshly.) 
I wouldn't treat a dog the way you treated me. 
{Growing angry.) 
You treated me like a cur, the way you lugged me 
away from the dance. 

Freda 
Think so? 

Vanderlip 

I'd sooner a man beat me with a club, than take 
what I took from you. It was just as much as if 
you took a club to me. You beat me into sub- 
mission, in front of everybody, until I followed at 
your heels — that's what you did. 

Freda 

{With mock solemnity.) 
Whom the Lord loveth he chasteneth. 



ACT III SCORN OF WOMEN 191 

Vanderlip 
But you are not the Lord. You are Freda — 

Freda 

{Laughing and interrupting.) 
And whom Freda chasteneth — 

Vanderlip 

J' 

{Interrupting.) 
She — 

Freda 

{Interrupting.) 
Not at all. The Lord is the Lord, but Freda is 
only a woman. . . . 
{A pause.) 

Vanderlip 

{Impatiently.) 
And? 

Freda 

Her ways are different from the Lord's. 

{She pulls her chair alongside of his, and 
rests one hand for a moment, caressingly, 
on his. Speaks softly.) 
And aren't you glad? 



192 SCORN OF WOMEN act hi 

{The caress has its effect. He is soothed, and 
■piijjs away at cigar with half-closed eyes.) 

(Freda, unobserved, throws a swift glance 
at clock, listens intently as for sounds 
from without of an approaching sled, 
and betrays to her audience her anxiety 
and restlessness.) 

(Maid enters with two glasses on a tray. Freda, 
observed by Vanderlip, sips from one glass, 
nods head approvingly, and passes it to him. 
Takes other glass herself.) 

Freda 

Minnie. Candles. 

(Maid moves about room, putting out 
lamps and lighting candles, which latter, 
with tissue- paper shades, shed softer light.) 

(Vanderlip suddenly recollects himself 
and draws watch. Freda tries to cover 
watch with hand, but fails. Vanderlip 
sees watch and starts to rise from chair. 
Freda half rises and presses him back.) 

Vanderlip 

(With note of real regret in his voice, 
glancing from cigar in one hand, and 
glass in other hand, to the stove, about 
the room, and then at Freda.) 



ACT III SCORN OF WOMEN 1 93 

It's a darn shame to leave all this, but I've 
really got to, Freda. I don't think I was ever so 
comfortable in my life. 

Freda 

{Softly, almost whispering.) 
Then why leave it, Floyd? 

Vanderlip 

I've got to hit the trail to-night, right away. 
And I've got to get my trail clothes. That bear- 
skin overcoat's too warm. Can't travel in it. 
{Starts to rise.) 

Freda 

{Pressing him hack gently.) 
Wait a minute. Let me think. 

{Thinks a moment. Her face brightens.) 
Ah, the very thing. Why not send my Indian for 
your things? He can bring them here. That 
will give you a few minutes more of the warm — 

Vanderlip 

{Interrupting, putting his arm out and 
around her waist.) 
And of you, Freda. 



194 SCORN OF WOMEN act hi 

(Freda lets his arm linger for a moment, 
then, warning him, by a look, of presence 
0} Maid, gently disengages arm. Takes 
her time about disengaging it. Vander- 
LiP sinks back comfortably on cushion.) 

Freda 

(Turning to Maid.) 
Minnie. 

(Maid, who has finished lighting candles, 
approaches.) 
Send Joe here. Tell him to put on his mittens 
and parka. 

(Maid goes out to right.) 
(Freda resumes seat, and lays one hand on 
Vanderlip's hand. Neither speaks.) 

(Maid enters, followed by Indian, who, as he 
comes, is putting on parka and mittens.) 

Freda 

You know Mr. Vanderlip's cabin? 

Indian 
{Nodding.) 
Um. 

Freda 

Give him the key, Floyd. 



SCORN OF WOMEN 



195 



(Vanderlip reaches in pocket and gives 
key to Indian.) 
You go Mr. Vanderlip's cabin and get parka — 

Vanderlip 

(Interrupting.) 
Dog-whip, fur cap, all together with parka. 

Freda 

Dog- whip, fur cap, all together with parka. 
(Indian nods.) 

Vanderlip 
And flask of whiskey on table. 

Freda 

And flask of whiskey on table. 
(Indian nods.) 

Vanderlip 

And go quick. 

Freda 
And go quick. 

(Indian nods and starts toward door to rear. 
Makes exit. Freda rises, as though 
recollecting something.) 



196 SCORN OF WOMEN act in 

Excuse me, Floyd. 

(Passes behind Vanderlip's back toward 
door to right, and unobserved beckons 
Maid. They pause at door to right.) 

Run quick, out the kitchen door, and catch Joe. 

Tell him not to come back. Tell him I said so — 

to go get drunk, anything, but not to come back. 
(Vanderlip lifts head, turns head around, 
and is watching and listening. Freda 
continues in slightly louder voice.) 

And then, Cupid's stew. 

(Maid makes exit to right.) 

(Freda returns to chair, passing hand 

caressingly through Vanderlip's hair 

before she sits down.) 

Vanderlip 

(Gruffly, suspiciously.) 
What were you gassing about? 

Freda 

(Mysteriously.) 
Cupid's stew. 

Vanderlip 

I heard it, but what is it? 



ACT III SCORN OF WOMEN 197 

Freda 

(Pausing and considering.) 
Well, first you take the chafing-dish — 

Vanderlip 

(Interrupting.) 
What's the chafing-dish? Use them in 
churches, don't they? Burn incense in them, or 
something or other. 

Freda 

(Laughing.) 
A chafing-dish, silly, is a very pretty some- 
thing you cook things in. 

Vanderlip 
Oh, I see. A highfalutin' frying-pan. 

Freda 

(Nodding.) 
First you put some butter in it ; and then, when 
the butter is melted, you stir in — oh, say a table- 
spoon of flour. 

(Vanderlip is listening closely.) 
When it is stirred smooth — 



198 SCORN OF WOMEN act ill 

Vanderlip 

{Interrupting.) 
Do you brown the flour? 

Freda 
No, of course not. 

Vanderlip 

{With comprehension.) 
Oh. 

Freda 

Then you stir in a cup of milk — Minnie's 
fixing it now, out in the kitchen — and in her case 
it will have to be condensed milk — 

Vanderlip 

{Interrupting.) 
St. Anthony's Cream's the best brand I know 
of. 

{Regretfully.) 
But you can't get it in this country. 

Freda 
I've got some. 



act iii scorn of women 199 

Vanderlip 

(In joyful amazement.) 
No! 

Freda 

(Nodding head.) 
I have. Then you put in some boneless chicken 
— tinned — 

Vanderlip 

(Interrupting.) 
You got some of that, too? 

Freda 
Yes. And then some mushrooms — tinned — 

Vanderlip 

(Interrupting ecstatically.) 
Freda, you're a wonder ! 

Freda 

Then season to taste, 
(Rising to climax.) 
and there you are ! 

(Freda half rises, leaning toward him. 
He half rises to meet her, reaching for 
her with both arms, to put around her 



200 SCORN OF WOMEN act in 

waist, hut she catches his hands and very 
gently and slowly disengages herself. 
Her very manner of disengaging her- 
self is caressing and seducing. They 
sink back slowly into their respective 
chairs.) 
(Freda listens intently, as for the sound 
of a sled without. Glances anxiously 
at clock on piano. Vanderlip does not 
notice, for he is drawing his watch and 
looking at it.) 

Vanderlip 

It's ten after twelve. 

{Looks anxiously at door to right.) 
Gee ! I hate to go without having a crack at 
that Cupid's stew, 

{He looks at Freda. She is gazing at him 
absently, apparently lost in meditation 
over him.) 
Well? 

Freda 

{Startled, as though discovered, in pretty 
embarrassment.) 
Oh! 

Vanderlip 

I was just wondering what you wanted to see 
me about. 



ACT III SCORN OF WOMEN 20I 

{He draws his chair snugly against hers. 
She looks at him, studying him, as though 
trying to make up her mind to speak.) 
Well, what is it? 

Freda 

{With steadiness and determination.) 
Floyd, I am tired of the whole business. I want 
to go away — over the ice — anywhere — away. 
I can't live it out here till the river breaks next 
spring. I'll die. I know it. I want to quit it 
all and go away. And I want to go at once. 

{She lays her hand in appeal on the back 
of his. His hand turns ever and 
captures hers. He does not know what 
to say.) 
Well? 

Vanderlip 
{Hastily.) 
I don't know what to say. Nothing I'd hke 
better, Freda. You know that well enough. 

{He presses her hand, and she nods.) 
But you see I'm — 

{Blurting it out.) 
— I'm engaged. Of course you know that. 
Everybody knows it. The girl's coming in over 
the ice to marry me. 
{Meditatively.) 
Don't know what was up with me when I asked 



202 SCORN OF WOMEN act iii 

her, but it was a long while back, and I was all- 
fired young. 

Freda 

And you intend to wait for her? 

{He nods.) 
And to marry her? 

{He nods.) 
Men sometimes make mistakes, you know, when 
they are young. 

Vanderlip 

{Warmly.) 
And this is one of them. What did I know 
about women then? 

Freda 

{Slyly.) 
Nothing to what you know about them now. 

Vanderlip 

I should say so. 

Freda 

But, Floyd, by persisting in the mistake, do you 
mend matters? 

{He shakes his head dubiously.) 
Will you be happy ? Will she be happy ? She is 
sure to find out the mistake, then it will be tragedy. 



act iii scorn of women 203 

Vanderlip 

{In despair.) 
I don't know. Women keep bothering me so. 
There are so many of them, and I hke them all. 
Seems to me I like best the one I'm with at the 
time. 

Freda 

Mrs. Eppingwell, let us say. 

Vanderlip 

{With posit iveness.) 
Yes, Mrs. Eppingwell. Why, when I'm with 
her, I think there's nothing like her under the sun. 
I feel like going out and killing her husband just 
to get her. 

Freda 

{Seductively.) 
And when you are with me, Floyd ? 

(Vanderlip reaches out impulsively and 
draws her to him. Her head rests on 
his shoulder. She snuggles in to him in 
a contented way, her hand petting his. 
He buries his face in her hair. The 
scent of her hair gets into his brain and 
maddens him. He disengages hand from 
hers and slips it gradually up her bare 



204 SCORN OF WOMEN act iii 

arm. His other arm, about waist and 
shoulder, draws her closely against him. 
All the while, however, they are occupy- 
ing their respective chairs. They re- 
main this way for a long moment or so, 
his hand still progressing up her bare 
arm.) 

Freda 

{Tearing herself suddenly loose from him 
and holding him from her at arms'' 
length, tragically.) 
Floyd ! Floyd ! I want to go away — out of 
the land — anywhere ! — anywhere ! 

Vanderlip 

{Soothingly.) 
Dear Freda. 

Freda 

I am tired, tired, so tired of it all. I — I — 
{Voice breaking.) 
— I think I shall cry. 

Vanderlip 

{Gently and soothingly drawing her to him.) 
There, there, little woman. Brace up, buck 
up, don't give in. 



act iii scorn of women 205 

Freda 

{Slowly disengaging herself and gently 
holding him off at arm's length.) 
I've been running over in my mind the men 
I know, and reached the conclusion that . . . 
that . . . 

Vanderlip 

(Beaming with self-complacency.) 
I was the UkeHest of the lot. 

Freda 
(Quickly.) 
No, not that, but . . . but . . . that I liked 
you best of all. 

Vanderlip 

(Drawing her to him.) 
Dear Freda. 

Freda 
Dear Floyd. 

(Door on right opens. They break away from 
each other and assume a more decorous posi- 
tion. Maid enters, hearing tray, on which are 
chafing-dish, dishes, napkins, etc., and a 
quart bottle of champagne. She sets tray on 
table. Freda serves Cupid's stew to Van- 
derlip, while Maid, a little to rear, is wrestling 
with champagne bottle.) 



206 SCORN OF WOMEN ACT iii 

Vanderlip 

(Who has not noticed champagne bottle, 

aroused by popping of cork and turning 

around quickly, simulating a person 

roused from sleep, rubbing his eyes, etc.) 

Wake me up, somebody- I'm dreaming. Pinch 

me. 

{Takes hold of bottle, Maid still retaining 
her hold, and looks at it.) 
The real thing. 

{Releases bottle and looks admiringly at 
Freda.) 
Freda, you're a peach. There isn't another 
bottle in the Klondike. 

Freda 
Oh, yes, there is. 

Vanderlip 

{Incredulously.) 
You've got to show me. 

Freda 

I've three dozen in the store-room - — 

{Turning to Maid.) 
Isn't that right, Minnie ? 



act iii scorn of women 207 

Maid 
And two over. I counted them this afternoon. 

Vanderlip 

{Awe-stricken.) 
Gosh! 

Freda 

All right, Minnie. You may go now. 
(Maid goes out to right) 
(Vanderlip begins eating Cupid's stew. 
Shows that he is pleased with it. Freda 
watches him, herself eating. Glances at 
clock, and listens. She seems to hear 
something. Puts down her plate on 
table. A knock is heard on door at rear. 
Freda rises, goes swiftly to rear, and 
opens door.) 
(An Indian enters. He is dazzled by the light, 
and pulls ice from lips. Freda shuts door. 
Vanderlip, after one glance around, goes on 
eating and drinking.) 

Indian 
Hello. 



SCORN OF WOMEN 



Freda 



(Not knowing his errand.) 
Hello. 

Indian 
Brrr ! Much cold. 

Freda 
Very cold. 

Indian 
Me come Sitka Charley. 

Freda 
Oh, you are the man. 

Indian 
Sitka Charley say him come quick, 

Freda 
How quick? 

Indian 

Maybe ten minutes. What time now? 

Freda 
Fifteen minutes after twelve. 



act iii scorn of women 209 

Indian 

Him come twenty-five minutes after twelve. 
Ten minutes more him come, I think. 

Freda 
How is the girl? 

Indian 

Much tired. Ride on sled. Plenty tired, cry 
little bit, Hke baby. She say must camp right 
away. Sitka Charley say make Dawson, She 
say no camp right away she die. Sitka Charley 
say don't care, make Dawson anyway. I go now. 
Good-by. 

Freda 

Don't you want to go out in the kitchen and get 
warm? 

Indian 
No. Good-by. 

Freda 
Good-by. 

(Indian opens door and goes out. Freda 
returns to chair at stove.) 

Freda 

{Sitting down.) 
You haven't told me how you like it. 



210 SCORN OF WOMEN act in 

Vanderlip 

(Turning plate upside down.) 
Actions speak louder than words. 
(She helps him to some more.) 
Let me see, Cupid's slumgullion, eh? 

Freda 

(Laughing.) 
Cupid's stew. 

Vanderlip 

(Thrusting fork into stew on his plate.) 
What's in a name, so long as it's in your plate 
anyway ? 

(Eats silently for a space.) 

Freda 
(Softly.) 
Floyd. 

(He is absorbed in eating.) 
Floyd. 

Vanderlip 

(Looking at her.) 
Unh-hunh. 

Freda 

(Still softly.) 
I've been thinking. Why couldn't we go down 
river? 



act iii scorn of women 211 

Vanderlip 

{Dropping fork and looking at her blankly, 
then around room, then at plate, and 
holding up glass of champagne — patheti- 
cally.) 
And leave all this? 

Freda 

Why not? We'd soon be down in the world, 
where we could swim in wine and all kinds of 
good things. 

Vanderlip 

{Seriously.) 
I don't know, Freda. I almost believe you've 
got to be in a place hke this to get the value out 
of things. I tell you champagne on tap is not all 
it's cracked up to be. It never bites in and lays 
hold the way this does. Down in the world it's 
all wine and no thirst — 

Freda 

{Interrupting.) 
And up here it's all thirst and no wine. 



212 SCORN OF WOMEN 



Vanderlip 



{Enthusiastically . ) 
But when you do get hold of the wine — Lord ! 
Lord! 

(Tilts back head and empties glass, his face 

beaming like to the full moon. He 

regards Freda thoughtfully as she fills his 

glass, and speaks with sudden suspicion.) 

You don't happen to care for palaces, do you? 

Freda 

{Shaking her head.) 
Why, what put that into your head? 

Vanderlip 

Well, I had a hankering after them myself, till 
I got to thinking a while back, and I've about 
sized it up that one gets fat Hving in palaces, and 
soft and lazy. No sir, no champagne on tap and 
soft summer skies for me. 

Freda 

I suppose it's nice in palaces — for a time. 
But one would soon tire. The world is good, but 
life should be many-sided. The way we'll do it 
will be to rough and knock about for a while, and 
then rest up somewhere. 



ACT III SCORN OF WOMEN 213 

Vanderlip begins to lean forward, in- 
terested.) 
Off to the South Seas on a yacht, then, say a 
nibble of Paris. 



(Gleefully.) 
Paris! 



Vanderlip 



Freda 



Then a winter in South America, and a summer 
in Norway — 

Vanderlip 

(Interrupting.) 
I always wanted a look, see, at South America. 

Freda 
A few months in England — 



Vanderlip 



(Interrupting.) 
Good society? 

Freda 

Certainly. And then, heigho ! for the dogs and 
the sleds and the Hudson Bay Country ! 



214 SCORN OF WOMEN act iii 

Vanderlip 

(Half rising, enthusiastically.) 
Freda, you were made for me ! It's just the 
life I want. I couldn't have hit it off better 
myself if I'd tried. The way you put it — a bit 
of this, and a bit of that — variety, you know — 
that's me. 

Freda 

That's it, variety, change. A strong man like 
you, full of vitality and go, could not possibly 
stand a palace for a year. 

(He shakes his head.) 
It's all very well for effeminate men, but you 
weren't made for such a hfe. You are masculine, 
intensely masculine. 

Vanderlip 

(Taking her hand and beginning to draw 
her toward him.) 
Do you think so? 

Freda 

(Yielding herself.) 
It doesn't require thinking. I know. Have 
you ever noticed that it was easy to make women 
care for you? 



ACT in SCORN OF WOMEN 215 

Vanderlip 

{Superbly innocent, yet showing hy his 
expression that he agrees with her.) 
Oh, I don't know. 

Freda 
You know it is so. 

Vanderlip 
Well, for the sake of argument, yes. 

Freda 
It is very easy. And why? 

Vanderlip 

{Still playing innocent.) 
Darned if I know. 

Freda 

{Impressively.) 
Because you are masculine. You strike the 
deepest chords of a woman's heart. Woman is 
weak. You are a wall of strength to her. You 
are something to cling to — big-muscled, strong, 
and brave. In short, because you are a man. 

{He folds her to him.) 



2i6 SCORN OF WOMEN act in 

Dear, dear Floyd ! 

{She lies in his arms a long moment, both 
still on their respective chairs. Then 
she slowly and gently disengages her- 
self, at the same time stealing a glance 
at the clock.) 

Vanderlip 

(Holding up her arm and studying it }or 
a moment.) 
How much do you weigh, Freda? 

Freda 

(Smiling.) 
What now ? 

Vanderlip 

I just wanted to know. 

Freda 
But why? 

Vanderlip 

Oh, nothing, I was just thinking you were not 
the kind to put on fat? 



Freda 



(Decisively.) 
Well, I think not ! 



act iii scorn of women 21 7 

Vandeelip 

{Suddenly, hy her hands, lifts her to her 
feet and thrusts her several steps away 
from him, then, sinking back in chair and 
running his eyes critically over her.) 
Your lines are good. 

Freda 
{Lightly.) 
Think so? 

Vanderlip 

You just bet I do. 
{Jubilantly.) 
YouHl never get fat ! 

Freda 

{Coming to his chair and rumpling his 
hair.) 
No, thank goodness, I wasn't bom that way. 

Vanderlip 

{Beginning pompously.) 
Now some women — 

Freda 

{Interrupting.) 
The Lisznayi, for example. 



2l8 SCORN OF WOMEN act iii 

Vanderlip 

{Spontaneously, positively.) 
She'll never get fat, Freda. 

Freda 

Oh, she won't, eh? How do you know? 
You'd never have guessed it all of yourself. She 
must have told you. 

(Vanderlip shows confusion.) 
Why, she's started already. She's carrying twenty 
pounds more than she ought. It spoils her figure. 
And — my ! — now that she's started, won't she 
just put it on ! 

Vanderlip 

(Anxiously.) 
But how do you know? 

Freda 

I've my eyes. So have you. Surely you've 
noticed it? 

Vanderlip 

(Slowly.) 
Honest, now, I've had my suspicions that way. 
(He remains silent for a moment or so, 
Freda rumples his hair.) 
I like that. 



act iii scorn of women 219 

Freda 
What? 

Vanderlip 
That what you are doing. 

Freda 
Oh! 

{Slaps Ms arm playfully, and sits down in 
her chair. Listens intently for sounds 
from without, while Vanderlip sips 
from glass.) 

Vanderlip 

{After a pause, setting down glass and looking 
amorously at Freda.) 
Say, Freda, do you know . . . 

{A pause. Freda glances at clock.) 
Do you know what I'd Hke ? 

Freda 

Not in the sHghtest. 

Vanderlip 

Well, I'll tell you. I'd like to see you with 
your hair down. 



220 SCORN OF WOMEN act m 

Freda 

{Change in whole manner beginning here, 
hut beginning slightly.) 
Think so? 

Vanderlip 

You just bet I would. 

Freda 

{Rising.) 
Wait a moment. 

{Passes behind him to door at right.) 

(Vanderlip rests under the idea that she 
has gone to take down hair, fills glass, 
and leans complacently back in chair 
and sips from glass.) 

(Freda opens door to right and beckons. 
Closes door, listens for a moment on way 
back to chair, and sits down.) 

Vanderlip 

{Looking at her hair, still up, surprised and 
grieved.) 
Why, I thought all the time you were taking it 
down. 

(Freda laughs her silvery, scornful laugh- 
ter. Vanderlip is puzzled, thinks she is 
teasing him.) 



ACT III SCORN OF WOMEN 221 

(Maid enters, unobserved hy Vanderlip. Freda 
issues her order with her eyes, glancing at Van- 
DERLip's bearskin overcoat hanging on wall to 
rear. Maid goes and gets coat and returns, 
still unobserved by Vanderlip, at the rear oj 
whom she stands waiting.) 

Vanderlip 

{Expostulating.) 
Now I say, Freda. 

(Freda still laughs.) 
What's the matter anyway ? 

Freda 
I have just recollected. 



Vanderlip 



{Puzzled,) 
What? 



Freda 
That you had an engagement at twelve sharp. 

Vanderlip 
I did. But it will keep. 



222 SCORN OF WOMEN act iii 

Freda 
It is now half-past twelve. 

Vanderlip 
Well, and what of it ? 

Freda 

Nothing, only . . . 

(Pauses and considers.) 

Vanderlip 
Only what? 

Freda 

Only, isn't it rather cold down at the water- 
hole? 

(Vanderlip is stunned for a moment, and 
can only stare at her in a bewildered way. 
{Her laughter, at his bewilderment, be- 
comes wholly mirthful.) 
Minnie, help Mr. VanderHp on with his over- 
coat. 

(Vanderlip glances swiftly around and 
sees Maid holding coat. He looks at 
his watch very slowly, and puts it away 
very slowly. Slowly empties glass of 
champagne, and carefully puts empty 



ACT III SCORN OF WOMEN 223 

glass on table. Just as slowly drags 
himself out of chair and to his feet. Maid 
offers to help on with overcoat, but he 
ignores her.) 

Freda 

{Who has ceased laughing, showing that 
she is a bit frightened by his preter- 
natural calmness, but still keeping her 
nerve.) 
Let me thank you for your kindness, Floyd. I 
wanted half an hour or so of your time, and you 
have given it. The turning to the left, as you 
leave the cabin, leads quickest to the water-hole. 
Good-night. I'm going to bed. 

(Starts to go toward door at left.) 
Minnie, see Mr. Vanderlip out, please. 

(Turning head over shoulder, looking 
back at Vanderlip, and beginning again 
her silvery laughter. Vanderlip has 
not spoken a word. He springs, lion- 
like, after her, seizing her by the arm and 
whirling her fiercely about, face to face, 
and still keeping his clutch.) 
Don't be rough. 

(He glares at her. She still keeps her 
nerve, speaks lightly.) 
On second thought — 



224 SCORN OF WOMEN act in 

{Looks at his detaining hand.) 
— I've decided not to go to bed. Don't be ridicu- 
lous, Floyd. 

{He growls inarticulately.) 
Tragedy doesn't at all become you. Do sit down 
and be comfortable. 

{To Maid, who has remained composed and 
holding coat.) 
Mr. Vanderlip doesn't want his coat yet awhile. 

(Maid goes to rear, hangs up coat, and 
remains at rear, waiting.) 

Vanderlip 

{Speaking with slow, clear enunciation.) 
What do you know about the water-hole? 

(Freda laughs. He closes his grip on her 
arm till she winces.) 
What do you know about the water-hole ? 

Freda 

{Lightly.) 
More than you know. 



Vanderlip 

{Again closifig grip.) 
Then tell me. I want to know. 



ACT III SCORN OF WOMEN 225 

Freda 

(Wincing, but still lightly.) 
I know that the fair lady waiting there has 
flown away a good half-hour ago. 

Vanderlip 
Where ? 

Freda 
Down the river. 

Vanderlip 
How do you know it ? 

Freda 
I arranged it. 

Vanderlip 

(Softening for a moment.) 
Tell me, it was because you wanted me ? 

Freda 
(Defiantly.) 
No. 

Vanderlip 

(Hardening again.) 
Then you didn't want me? 
(She shakes her head.) 

Q 



226 SCORN OF WOMEN act in 

You don't want me ? 

{She shakes head.) 
Well, then, will you have me? — Now? 

(She shakes head.) 
Then this was a game you worked on me ? 

Freda 
Yes. 

Vanderlip 

You didn't mean a word of it? 

Freda 
Not a word of it. I was playing. 

Vanderlip 

(Grimly.) 
Well, I wasn't, that's the difference. 

Freda 
Do let go of my arm. You are hurting me. 

Vanderlip 

(Ignoring her protest, dragging her roughly 

by her arm to the front and just to left of 

table, holding her face to face with him, 

and beginning to speak faster.) 

Look here, Freda, I'm a fool. I know it. I 



ACT III SCORN OF WOMEN 227 

was a fool there in that chair. You put it all over 
me. You women all make a fool of me. I don't 
think quick. I'm not used to it, I guess. My 
tongue is awkward. I can't think of bright things 
to say, or the right things to say. And I believe 
what is said to me. And then I like women, too. 
I can't help it. I was born that way. I just like 
them, and they take advantage of me — 

Freda 

(Interrupting.) 
Won't you let go of me and sit down ? 

Vanderlip 

(Ignoring her.) 
Why do they take advantage of me ? 

(Freda shrugs her shoulders.) 
Because I am a fool. Because I am playing their 
game and don't know how to play it. They know 
how to play it. They ought to know — it is their 
game. A man's a fool to buck another man's 
game. The percentage is all in favor of the house. 
And a man is a bigger fool to buck a woman's 
game. And I've been dead soft and easy. I 
know it. I've played your game and you've 
tied knots in me . . . 

(He pauses, as though debating the next 
thing to say.) 



228 SCORN OF WOMEN act ill 

Freda 

{Lightly.) 
I must say you are untying the knots fast. 

Vanderlip 

(With touch of anger.) 
I'm untying nothing. I'm going to begin tying. 
What I'm going to do is to play my game, and 
you're going to play it with me, my lady. 

(His speech grows slow and clear again.) 
Do you know what my game is? 

(Freda shakes her head.) 
It's not palavering, and being society-monkey, and 
ducking, and bowing, and scraping, and giving 
crooked talk, and saying smart things, and that 
sort of stuff. It's just this — 

(He takes hold of her other arm with other 
hand, and puts the pressure on with 
both hands. At 'first she merely winces 
hut he grips until she cries aloud in pain. 
Maid shows alarm for first time, and 
starts hastily forward.) 
That's it. Muscle's my game — the only game I 
can play, and I've been a fool to go out of my class. 

Maid 

(Interrupting, to Freda.) 
What shall I do? 



act iii scorn of women 229 

Freda 
Nothing. It is all right. 

Maid 
Shall I go for help ? 

Freda 
No, no. 

{To Vanderlip.) 
Let go of me, Floyd. You are crushing my arms. 

Vanderlip 

{Laughing savagely.) 
Did you let go when you crushed me ? 

Freda 

{With blaze of defiance.) 
You coward ! 

Vanderlip 

{Savagely.) 
Were you less coward when you beat me down 
to my knees with your woman's wit, your woman's 
beauty, your woman's weapons? Your face is 
beautiful. Your body is beautiful. With these 
have you drawn me to you, making yourself soft 



230 SCORN OF WOMEN act in 

and yielding, so that at a distance the very feel 
of you was soft and yielding — 

{With scorn.) 
— a play actress, you ! Your mind is quick. 
Your tongue is crooked. You lied to me. When 
you let me hold your hand, you lied to me. When 
you looked softly at me, or passed your hand 
through my hair, you lied to me. When you came 
against me and rested your head on my breast so 
that the scent of your hair got into my brain and 
maddened me, you lied to me. You knew all 
the time that my blood was pounding up hot 
within me, you knew all the time that I was honest 
and playing fair, and all the time you were lying 
to me. 

(He pauses and debates upon what next to 
say.) 

Maid 

(Calmly, to Freda.) 
Shall I go for help? 

Vanderlip 

(Ferociously.) 
Shut up, you ! 

(Continuing, to Freda.) 
Well, I've taken your medicine. Now you take 
mine. Here it is. I want you. I'm pretty sure 



ACT III SCORN OF WOMEN 231 

I'd sooner have you than Loraine. You can 
marry me if you want, but marry or no marry, 
you're mine. Down river you go with me to- 
night, my lady, so you'd better tell that girl of 
yours to pack your duds. 

Freda 

(Laughing defiantly in his face.) 
Think so? 

Vanderlip 

(Maddened by desire 0} her.) 
I know so — and here's a foretaste of my game. 
Tell me how you like it. 

(Bends her back, face upturned, gets proper 
grips so that she is helpless, and delib- 
erately and passionately kisses her several 
times on the lips. Maid springs upon 
him, but he flings her off and away with 
one arm. Holds Freda by one arm 
again.) 
How do you like it, eh ? How do you like it ? 

Freda 

(Almost suffocating with rage, wiping lips 
with back of free hand.) 
You beast ! You beast ! You beast ! 

(Maid is starting to spring at him again.) 
No, no, Minnie ! Stop ! I can deal with him. 



232 SCORN OF WOMEN act m 

Vanderlip 
Not in a man's game, Freda. 

Freda 

(All defiance.) 
In a man's game, Floyd Vanderlip. 

{She no longer winces nor struggles to free 
herself, but confronts him, head erect, 
expression of cold anger on face.) 

Vanderlip 

{Looking at her admiringly for a moment.) 
Ah, you beauty ! You've made me mad for you. 
I'll crush you into submission as you crushed me 
into submission at the dance to-night. You beat 
me down to my knees, but I'll bring you down on 
your knees to me till you're glad to kiss the toe 
of my moccasin. 

{He surveys her again.) 
And now, you beauty, you beauty, I am thirsty 
for your lips again. 

{He starts to bend her back again, but she 
refuses to struggle, holding her face up to 
him defiantly. He pauses.) 
Well, why don't you fight and scratch and claw 
around some? 



act iii scorn of women 233 

Freda 

Because I won't give you the chance to pull and 
haul and maul me around, that is all. 

Vanderlip 

(Who, as usual, is baffled by a change 0} 
attitude.) 
Then I'll kiss you. 

Freda 

You may pollute me with your lips, but you 
shall not master me with your strength. 

Vanderlip 

(Gaily.) 
Nay, nay, not pollute. You should call it 
(Imitating Mrs. McFee.) 
"contameenate." That's right. Blaze away at 
me with those eyes of yours. You may keep 
quiet with your body, but you can't take the fight 
out of your eyes. I tell you that blaze gives value 
to your kisses, and now I'm going to — 

(Leans forward to kiss her, while she 
remains motionless and passive. He 
pauses, with lips close to hers.) 
Nothing like prolonging anticipation, eh? You 



234 SCORN OF WOMEN act hi 

know you said I was masculine, intensely mascu- 
line. How do you like it? How do you like 
leaning up against the wall of my strength ? Ah, 
you beauty ! You beauty ! 

Freda 

{Suddenly listening.) 
Minnie ! Open the door ! 

{A jingling 0} dog bells is heard ■without, 
and a man''s voice crying "HawP' 
Maid runs toward the door. Vanderlip 
listens, still holding Freda close in his 
arms. A knock at door. Maid throws 
open door.) 

Freda 

(In triumphant voice, as door is thrown 
open.) 
Now will you let go of me ? 

(Enter Mrs. Eppingwell, followed by Capt. 
Eppingwell and a Northwest mounted Police- 
man.) 

(Mrs. Eppingwell, looking at Police- 
man, points at Vanderlip.) 

(Policeman hesitates, embarrassed at in- 
terrupting such a scene.) 

(Vanderlip and Freda in consternation. 



ACT III SCORN OF WOMEN 235 

he still holding her. He releases her 
abruptly and is himselj all awkwardness 
and co?i fusion. Freda separates from 
him, moving away unconsciously sev- 
eral steps, her eyes fixed upon Mrs. 
Eppingwell.) 

Freda 

(Surprise, awe, etc.) 
You! 

Mrs. Eppingwell 

(Sharp and businesslike.) 
Yes, I. And I am glad I am not too late. 

Freda 

(Striving to recover her poise, speaking 
automatically in artificial manner.) 
Delighted, I assure you. 

(With sudden break in manner, becoming 
candid.) 
No, I am not delighted at all. 

Mrs. Eppingwell 
I should scarcely think so. 

Freda 
It is intrusion. 



236 SCORN OF WOMEN act iii 

Mrs. Eppingwell 
It is intrusion, I know, but — 

Freda 

{Interrupting, again artificial manner.) 
Oh, not at all. 

{Starting toward Mrs. Eppingwell.) 
Won't you take of! your wraps? 

{To Maid.) 
Minnie ! 

(Maid offers to help Mrs. Eppingwell off 
with wraps.) 

Mrs. Eppingwell 

{Declining Maid's offer.) 
No, it is not necessary. We shall stop only a 
moment. 

Freda 

{Artificial manner.) 
I hope you'll pardon my curiosity, but — 
{Hesitates an instant.) 
— why didn't you come sooner? What was the 
delay ? 

Mrs. Eppingwell 

{Indicating Policeman, who hoivs.) 
I had to get this gentleman. It took time — 



act iii scorn of women 237 

Policeman 

{Interrupting, bowing.) 
Sorry. 

Mrs. Eppingwell 

And then I went to the wrong water-hole. 

(Freda and Vanderlip both start, Mrs, 
Eppingwell observing Vanderlip's 
start.) 
Good morning, Mr. Vanderlip. 

Vanderlip 

{Awkwardly.) 
Hum, yes. How do you do? Good morning. 

Freda 

{The real state of affairs dawning on her.) 
I see. You expected to find me at the water- 
hole. 

(Mrs. Eppingwell nods.) 
And you didn't. 

Mrs. Eppingwell 
No. Then I went to the other water-hole. 

Freda 
Expecting to find me ? 



238 SCORN OF WOMEN act iii 

Mrs. Eppingwell 
Yes. Then I came here. 

Freda 

(With mock admiration.) 
Unerring instinct. 

Mrs. Eppingwell 

{Replying in kind.) 
Yes, wasn't it? 

Freda 

Er — by the way, didn't you find anybody at 
the second water-hole? 

Mrs. Eppingwell 

A strange woman. I thought she was you at 
first. She seemed restless enough. 

Vanderlip 

{Starts at mention of strange woman, sud- 
denly moving toward the street door.) 
I've fooled around here long enough. I'm 
going. 

Freda 

Good luck, Floyd. 



act iii scorn of women 239 

Policeman 

{Stepping forward, meeting, and stopping 
Vanderlip.) 
Sorry. 

Vanderlip 

(Irritated.) 
What's the matter now ? 

Policeman 

(Drawing document from pocket.) 
I've got a warrant for you. Forgery. Sorry. 

Vanderlip 

(Astounded.) 
What in hell — 
(Breaks off.) 

Policeman 
Sorry. 

Vanderlip 

(Expostulating.) 
Now look here, I say, whose game is this ? 

(Freda laughs her silvery laughter, it is 
laughter of amusement only.) 



240 SCORN OF WOMEN act in 

Freda 

{To Mrs. Eppingwell, still laughing, 
accusingly.) 
You did this. 

Mrs. Eppingwell 

{Nodding.) 
I had tried everything else to stop him from 
running away. 

Freda 

{Laughing merrily and shaking her head.) 
Poor Floyd ! Poor, poor Floyd ! 

Vanderlip 

{Wrathjully.) 
Look here, Mrs. Eppingwell. This is your 
work. You'd better call it off. I'm done with 
bucking other people's games. 

{Starts toward door, hut Policeman lays 
hand on his arm.) 
Get out of my way, you whipper-snapper ! 

Policeman 

{Not hacking down a hit.) 
Sorry. 



act iii scorn of women 241 

Vanderlip 

(Flinging off hand, but remaining where he 
is.) 
You'd better call him off, Mrs. Eppingwell, or 
there'll be the almightiest ruction round here you 
ever saw. 

Freda 
(Lightly.) 
Don't be in a hurry, Floyd. She's gone. 

Vanderlip 

No, she isn't. 

Freda 

Ask Mrs. Eppingwell. 

Mrs. Eppingwell 
Whom do you mean ? 

Freda 
The strange, restless lady at the water-hole. 

Mrs. Eppingwell 

Why, yes. She went away on a sled down the 
river. 

Vanderlip 

Who'd she go with ? 

R 



242 SCORN OF WOMEN act m 

Mrs. Eppingwell 

With nobody. She had an Indian dog-driver, 
though. 

(Vanderlip makes gesture of despair, 
signifying that he has been completely 
beaten. Freda laughs merrily.) 



Vanderlip 



(Wrathfully.) 
Oh, you women ! 

Mrs. Eppingwell 

(To Freda.) 

Who is this strange lady ? 

Freda 

(Indicating Vanderlip.) 
Ask him. 

(Mrs. Eppingwell looks inquiringly at 
Vanderlip.) 

Vanderlip 

(Wrathfully.) 
None of your business, you and your games ! I 
quit. I've bucked myself broke against you — 

(Whirling on Freda.) 
— against all of you. 



SCORN OF WOMEN 



^43 



{To Policeman.) 
Go ahead, arrest me. It's a fake, and you know 
it. But go ahead. 

Policeman 

I've only got my orders. Sorry. You'll come 
along peaceably? 

(Vanderlip grunts savage assent.) 

Vanderlip 

You know it's a fake. 

Policeman 

I know only my orders. Sorry. 

{General movement of preparation to leave.) 

Freda 

{To Mrs. Eppingwell.) 
It's too bad you can't stop longer, but — 

{Suddenly breaks off and listens intently.) 

{A jingling of dog hells is heard without, and 
shouts of men. A knock on street door. Maid 
opens door. Flossie appears in doorway and 
enters. Sitka Charley enters at her heels and 
closes door. Flossie is dazzled by the lights and 
looks about hesitatingly. She is well frosted up. 



244 SCORN OF WOMEN act iii 

A nose-strap is across her nose. She removes 
nose-strap. Looks about, and sees Vanderlip. 
Freda starts toward her, impulsively, to receive 
her.) 

Flossie 

(Making a weak little lame run toward 
Vanderlip, with infinite relief in her 
voice.) 
Floyd ! 

Vanderlip 

{Dazed.) 
Flossie 1 

{He opens his arms and she staggers and 
falls into them. Her head lies on his 
breast for a space, while he holds her and 
stares helplessly around. Then she lifts 
her head, inviting the kiss, and perforce 
he bends head and kisses her.) 

Flossie 

(Infinite gladness.) 
Oh, Floyd ! Floyd ! 

Vanderlip 
Dear, dear Flossie ! 



act iii scorn of women 245 

Flossie 

{Still in his arms, hut throwing her head 
hack to look at him, in playful manner.) 
You big, impatient man ! 

(Vanderlip is puzzled, and only awk- 
wardly pats her shoulder with one arm 
that is around her.) 
You cruel, cruel man ! 

{He is still puzzled.) 
Couldn't wait. Couldn't let me have my night's 
rest and arrive in the morning fresh. 

Vanderlip 

Ah — hum — yes. 

{She puts her lips up to him and he again 
kisses her.) 

(Sitka Charley remains inside street door. 
Capt. Eppingwell is restless, betraying 
a feeling that it is time to go. Policeman 
is restless. Mrs. Eppingwell and 
Freda, now near to each other, are 
looking on.) 

Flossie 
My ! What lots of dogs you must have ! 



246 SCORN OF WOMEN ACT in 

Vanderlip 

(More puzzled than ever.) 
Hum, yes. 

Flossie 

First came an Indian with six dogs. You know, 

the Indian with one eye. 

(Mrs. Eppingwell and Capt. Epping- 
WELL look at each other significantly. 
Vanderlip, after a moment's hesitancy, 
nods.) 

Then came the second Indian with eight dogs. 

(Mrs. Eppingwell looks inquiringly at 
Capt. Eppingwell, who shakes head, 
then each looks hepuzzlement at the other. 
Vanderlip, again hesitating, nods.) 

And then came Sitka Charley with seven of the 

most magnificent dogs I ever saw. Oh, Floyd, 

they were just grand ! 

(Mrs. Eppingwell and Capt. Epping- 
well look more bepuzzled than ever. 
Vanderlip looks across at Freda with 
comprehension, hy his look as much as 
saying, " You are responsible for this.'' 
Freda smiles. Mrs. Eppingwell and 
Capt. Eppingwell observe the proceed- 
ing, and look at each other significantly.) 

We just flew along — Hke the wind ! 



ACT III SCORN OF WOMEN 247 

Vanderlip 

{Seeing the whole situation and lying up to 

it.) 

I just bet you did. I knew they'd bring you in 

on the jump. I told them I didn't want any 

loafing, and . . . well, from the looks of it, I guess 

there wasn't any. 

Flossie 

{Snuggling in against him.) 
Couldn't wait a bit longer, could you, dear? 

Vanderlip 

{Holding her closely.) 
You just bet I couldn't. 

Policeman 

{Unobserved by Flossie, whose back is 
toward him, stepping forward toward 
Vanderlip, the ivarrant still in his 
hand.) 
Sorry — 

Mrs. Eppingwell 

{Interrupting, stepping toward him.) 
Give it to me. 

(Policeman hands warrant to her. 
It will be all rio-ht. You understand. 



248 SCORN OF WOMEN act in 

Policeman 

{Nodding, pulling on mittens, and bowing 
very politely.) 
Then I will wish you good night. 
{Makes exit with final bow.) 

Capt. Eppingwell 

{To Mrs. Eppingwell, indicating desire 
to go.) 
We're scarcely needed here, I think. 

Mrs. Eppingwell 

One moment, Archie. I'm all in a daze, and 
I'm curious. 

{Turning to Sitka Charley.) 
Charley, the team of dogs you drove, whose were 
they? 

Freda 

{Who, now that the fight is over and won, 
is on the verge oj breaking down, inter- 
rupts Sitka Charley, and speaks her- 
self.) 
Now I wish you would all go home and leave 
me alone. I want to go to bed. 



act iii scorn of women 249 

Mrs. Eppingwell 

{Gently.) 
But I am curious, Freda, as you were curious. 
I want to know. I insist. 

Freda 

{Choking, on the verge of tears.) 
Please, please go. 

Flossie 

{Who has lifted head and been regarding 
Freda, to Vanderlip. Loud enough 
for all to hear, but not too loud.) 
Who is that woman? 

Vanderlip 

{Painfully embarrassed, hesitatingly.) 
Well . . . you see, Flossie . . . it's like this. 

Flossie 

{With asperity.) 
She is not a friend of yours? 

Vanderlip 
No, no, of course not. You see, this is the 



250 SCORN OF WOMEN act in 

Klondike. Things are different here than from 
what you've been used to, and . . . and . . . 

Flossie 

(Interrupting, showing in voice and de- 
meanor comprehension of Freda's status.) 
Oh, I understand. It will be better for us to 
go, I think. 

(They start toward street door, Vanderlip 
supporting Flossie around waist. She 
is very tired and leans heavily against 
him. He puts on bearskin coat, mittens, 
etc. He does not speak, though he nods 
awkwardly. As they make exit, he 
glances hack at Freda.) 

Freda 

(To Mrs. Eppingwell, harshly.) 

Now will you go. 

Mrs. Eppingwell 

(Gently.) 
No, I insist. There has been a misunderstand- 
ing. 

(Freda, tears imminent, makes nervous 
exclamation, and with both hands makes 
nervous gesture. Turns her back, walks 



ACT III SCORN OF WOMEN 251 

rapidly to front, and throws herself into 
easy chair, where she sits, face up, 
facing audience.) 

Mrs. Eppingwell 

(To Sitka Charley.) 
Those dogs you drove, Charley. Whose were 
they? 

Sitka Charley 

(Hesitating, shifting weight from one leg 
to the other and hack again, looking 
appealingly at hack of chair in which 
Freda is seated.) 
Me no know. 

Mrs. Eppingwell 

(Impatiently.) 
Of course you know. 

Sitka Charley 

(Still hesitatingly, still shifting weight hack 
and forth, still looking appealingly at 
hack of chair occupied hy Freda.) 
Maybe know, maybe not know. 



2^2 SCORN OF WOMEN act in 

Mrs. Eppingwell 

(Imperatively.) 
Tell me. 

Sitka Charley 

(Angrily.) 
What for, all you womans? Make Sitka 
Charley much tired. All the time, 

{Imitating their manner.) 
"Charley, tell me this, Charley, tell me that." 
All the time, "Charley, no tell this, Charley, no 
tell that." Sitka Charley tired. Sitka Charley 
much tired. Sitka Charley dam tired. Now 
Sitka Charley tell. 

{He pauses, while Mrs. Eppingwell 
waits expectantly, and Freda, with ex- 
pressionless face, faces audience.) 
Sitka Charley big fool, too. Him think you love 
Vanderlip. Him think Freda love Vanderlip. 

{Shaking head.) 
No love. All the same make Vanderhp big fool. 
All the time all womans make all mans big fool. 
You say. No tell Freda. Freda say. No tell you. 
All right. Sitka Charley no tell. Now Sitka 
Charley much tired. Now him tell. Um, him 
drive Freda's dogs. Freda say, "Charley, bring 
Flossie girl much quick." 



ACT III SCORN OF WOMEN 253 

{Looking at Mrs. Eppingwell with ex- 
pression of pride, boastfully.) 
Sitka Charley bring Flossie girl much quick. 

Mrs. Eppingwell 
Who was the woman at the water-hole ? 

Sitka Charley 
Um Lisznayi woman. 

(Mrs. Eppingwell is surprised. Capt. Ep- 
pingwell makes dumb show of delight.) 

Mrs. Eppingwell 

(Beaten, pathetically.) 
Archie, will you ever have faith in me again ? 

Sitka Charley 

(Moving toward door, turning toward back 
of Freda's chair.) 
Dogs much hungry. 

(Stops and waits, looking at Freda's chair.) 
Um, me go feed dogs. 

(After regarding chair for a moment, starts 
on toward street door. Again stops and 
looks at chair.) 
I go now, Freda. 



254 SCORN OF WOMEN act hi 

Freda 

{Not turning head, expressionless face and 
voice.) 
Good night, Charley. 

(Sitka Charley makes exit. Door slams.) 

(Mrs. Eppingwell looks toward Freda's 
chair, starts as tJiough to go to Freda, 
hesitates, and stops. Turns upon Capt. 
Eppingwell and shoves him toward 
street door. Capt. Eppingwell makes 
exit. Door slams. Mrs. Eppingwell 
remains standing on one side of door, 
looking toward Freda's chair. Maid 
stands on other side of door, looking at 
Mrs. Eppingwell.) 

(When door slams, Freda rises to her feet. 
The breakdown has come.) 

Freda 

Thank God ! 

(Without looking toward street door, or 
becoming aware that Mrs. Eppingwell 
still remains, Freda goes rapidly to right, 
to couch, sobs struggling up, her breast 
heaving. She sinks to floor, resting arms 
on couch, face buried in arms and couch, 
and sobs convulsively.) 



:t III SCORN OF WOMEN 255 

(Mrs. Eppingwell comes forward and 
touches Freda on shoulder.) 

Freda 

(Starting, but not looking up.) 
It is all right, Minnie. You may go to bed. 
{Goes on sobbing.) 
(Mrs. Eppingwell luaits a moment, sits 

down on couch, and rests hand on Freda's 

head.) 

Mrs. Eppingwell 

{Very gently.) 
Freda. 

Freda 

{Starting with violent surprise and looking 
up.) 
You! 

Mrs. Eppingwell 
{Gently.) 
Yes, I. 

Freda 

{Trying to be harsh, but succeeding in 
being only reproachful.) 
I asked you to go. 

{Turns face away from Mrs. Eppingwell 
and looks straight forward toward audi- 
ence.) 



;56 SCORN OF WOMEN act iii 

Mrs. Eppingwell 

{Gently.) 
Freda. 

(Freda turns head and looks into Mrs. 
Eppingwell's face. Mrs. Eppingwell 
puts her arm around Freda's shoulder 
and draws her close. Freda hursts into 
tears and buries face in Mrs. Epping- 
well's lap. Mrs. Eppingwell bends 
over her, soothing her.) 

CURTAIN 



WORKS BT JACK LONDON 



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